BibliOdyssey

The House of Savoy

2013-05-18T00:32:00.001+10:00

Superb illuminated paintings distinguish this visual regional history as an album of outstanding quality, to my eye. Please do yourself a favour by clicking through directly to the very large versions of these parchment page images so you can better inspect the manuscript illustrator's exquisite and detailed work. Produced in ~1580, this is quite a late example of such high calibre illumination work, and it was likely a special commission by a member of the royal household in the variable Italian-French-Swiss territory of Savoy.

"The House of Savoy was formed in the early 11th century in the historical Savoy region. Through gradual expansion, it grew from ruling a small county in that region to eventually rule—through its branch Savoy-Carignano—the Kingdom of Italy from 1861 until the end of World War II. The House of Savoy ruled unified Italy for 85 years with Victor Emmanuel II [..&c..] as monarchs. The last monarch ruled for a few weeks before being overthrown by a Constitutional Referendum, and a new republic was then proclaimed. [..]

The House of Savoy emerged, along with the free communes of Switzerland, in what is now called Switzerland. The name derives from the historical region Savoy in what is now France and Italy. Over time the house expanded from that region to rule almost all of the Italian Peninsula. Yet their growth and survival over the centuries was not based on spectacular conquests, but on gradual territorial expansion through marriage and methodical and highly manipulative political acquisitions." [source]

The manuscript features the armorial bearings^ of (at least) the House of Savoy and the Habsburg Empire, assorted Dukes, Counts, Marchionesses and Countesses at their investitures, battles and in funereal or marriage portraits; and formal Roman and Greek architectural decoration is mixed in with the stylised grotesques, trophies, arms and strapwork motifs favoured during the Renaissance. The colouring is just gorgeous and adds enormously to the ink and ink-wash foundation. The only written text is in the name plates and scene descriptions (+/- mottoes) in Latin accompanying nearly all the illustrations.

'The Album of the House of Savoy (W. 464)' is owned and hosted by the Walters Art Museum in Baltimore within 'The Digital Walters' assemblage of manuscripts: one of the best sites of its kind on the internet.**

The images above were slightly cropped (the illustrations take up nearly the whole of every page) and I don't recall adjusting any of the colour/balance qualities at all. I uploaded very large jpeg images, but the reason The Digital Walters deserves praise is, in addition to sharing all the manuscript images under an attribution share-alike 3.0 CC license, they also supply a range of .jpg and .tiff file sizes, unlike most repositories. So an even LARGER and very high resolution version of each page image can be found on their website.

Re: House of Savoy - I'm not a fan of any of the sites I looked at, in terms of an historical overview, but in addition to Wikipedia, there are: Chivalric Orders, New Advent & Regalis that you may find useful.

Previously: Illuminated.

**ADDIT: a couple of days later I discovered that the erstwhile curator at The Walters Art Musuem, @WillNoel (of Parchment & Pixel), had participated in a Nov' 2012 conference in New York and his 20 minute talk is available on Youtube. Part of his talk - titled: *The Commons and Digital Humanities in Museums* - includes the evolution of the ethos behind manuscript management in the digital arena at The Walters and it's a very worthwhile talk to listen to, especially if you are in the museum/library/archives sphere; but it's just as interesting for the rest of us too.

Bird Album

2013-05-14T00:48:00.001+10:00

This ink-wash and watercolour album of birds was produced in Japan in the 19th century.

It bears a 'working title' hinting that it contains Dutch migratory birds, carries an Ex Libris stamp identifying it as belonging at some time to the Katsurakawa^ family (2nd fig. below), and is owned and hosted by the State Library of Berlin. I see everything from eagle, pheasants, parrot species and hawk, to rhinoceros hornbill, egret, pelicans and many other species that escape my fairly ignorant abilities. Is Holland on all of their migratory flight paths? Seems unlikely, so I opted for the fail-proof, vanilla post title of 'Bird Album'.

The 110+ page anonymous sketch album from the 19th century is called オランダ持ち渡り鳥類図帖 (仮題) 3巻 (online translation: 'Netherlands have migratory birds such as Figure Pledge (tentative) Volume 3') is available online via the State Library of Berlin website. [SBB Digital Collection homepage]

These delicate drawings are often outlined in ink and ink-wash and filled in with watercolour to a variable extent. Some of the illustrations are un(der)finished and I wonder if this isn't something of a practice or copy album with published book designs appropriated for Japanese natural scenes. It's all speculation of course. In general the birds are displayed quite realistically and are readily identifiable. I wonder, too, whether in those sketches where non-nondescript backgrounds are seen, if those birds were unfamiliar to the aritist(s).

The images above have all been moderately background cleaned and the colour saturation slightly boosted.

Thanks to @pop_ & @tatsushi_eto & @GingaStation.

ADDIT. Gallery page from *Birds in the Art of Japan* - the website associated with a current exhibition at the Metropolitan Museum in New York (until the end of July 2013).

Zanerian Alphabets

2013-05-09T01:04:00.001+10:00

The original penwork alphabet designs below are from

the Zaner-Bloser Penmanship Collection, donated to the

Harry & Jeanette Weinberg Memorial Library at

the University of Scranton, Pennsylvania in 2010.

"The Weinberg Memorial Library houses the Zaner-Bloser Penmanship Collection, which is one of the most extensive collections of American ornamental penmanship from the late 19th and early 20th centuries." [..]

The company was founded in 1888 by Charles P. Zaner as the Zanerian School of Penmanship. Elmer W. Bloser purchased a share of the company in 1891 and in 1895 the school changed its name to the Zaner-Bloser Company. Zaner-Bloser Inc. [..]

Originally, the school prepared students for careers as penmen. Penmen often worked in business, preparing ledgers, writing correspondence and creating documents before the invention of the typewriter. Zaner-Bloser also taught students to become teachers of penmanship, illustrators and engravers, as well as engrossers, who employ the type of ornamental writing used for diplomas and certificates. During the 20th century Zaner-Bloser concentrated on the education market providing manuals, teaching aids, and other materials for elementary schools. [source]

'The company began publishing its own penmanship manuals. As the company history states: "In 1904, Zaner-Bloser published The Zaner Method of Arm Movement, a landmark text that taught the simplified style of writing learned by students at the Zanerian to children in elementary schools all over the United States. This book also applied the findings of psychologists who had discovered that young children completed manual tasks more easily if allowed to use the large arm movements that were natural to them at their early stage of motor skills development." ' [source]

Medieval Ornament alphabet

Modernised Broad Pen Medieval and Church Text alphabet

Old English alphabet

Ornamental Egyptian alphabet

Ornamented Semi-Script alphabet

Ornate Roman alphabet

Broad-pen Roman alphabet

Round Letter alphabet

Semi-Round Letters alphabet

Aesthetic Text alphabet

Block Ornament alphabet

Italian Square Top alphabet

Light Line Block Marking or Skeleton alphabet

Single Line Centre or Sickles alphabet

Applied Lettering of Proportion Modification

The Zaner-Bloser Penmanship Collection at the (Jesuit) University of Scranton.

More specifically, the images above were selected from the 1900 and 1910 editions of 'The New Zanerian Alphabets'. So far, only a small amount of the Weinberg Memorial Library collection has been posted online. The image files available on the site are very large (~6000px or more on the long side) but image focus is a significant issue. I reduced the image sizes by about two thirds for display here.

Previous related posts on BibliOdyssey -- (the 'general' tag of) calligraphy.

Edo Views

2013-05-02T04:40:00.000+10:00

'100 famous views of Edo'

(Meisho Edo Hyakkei)

Ukiyo-e woodblock print series

by Utagawa Hiroshige (Ando), 1850s

Fukagawa Susaki and Jūmantsubo

"This view looking northwest from Fukagawa Susaki, a spit of land along Edo Bay, toward Jūmantsubo, a tract of land named after its approximate area of one hundred thousand tsubo (about eighty acres), is one of the most dramatic designs of the series. Its appeal lies in the contrast between the powerful form of the eagle as it prepares to dive for prey and the desolate wintry marshes below. As in other views devoid of people, there is still a pervasive human presence—in the roofs huddled to the left, in the poles of the lumber-yards beyond, and, above all, in the lone wooden bucket floating at the edge of the bay, surrounded by water birds on which the eagle seems to have its eye." [source]

Night View of Sarukawa-machi

"As the full moon rises high in the autumn sky, its rays bathe Saruwaka-machi, the theater district of Edo, with silver light. The moonlight also displays an array of shadows that seem to have a life apart from the gray and black figures that cast them. These shadows are central to the magical quality of this unusual print. Both for Western viewers accustomed to pictures with shadows and for Edo viewers to whom shadows were a curiosity, these particular forms have the similar effect of conjuring up an otherworldly atmosphere." [source]

"Sarukawa-machi was known as a theatre district in Edo (Tokyo). Three official Kabuki theatres on the right side are identified by turrets of boxes known as Yagura, with the crest of approval at the entrance. It is already late in the evening and the theatres are nearly closed, as the tea houses across the road have put on bright lanterns to guide their guests back to the gate. A palanquin waits beside one of the tea houses. At the top of dark sky mika was used to give a glittering impression of the evening sky."[source]

Kitsunebi on New Year's Night

under the Enoki Tree near Ōji

"Hiroshige drew his subject matter from folklore as well as from poetry, literature, and history. This image depicts the legendary explanation for the luminescence known as foxfire, observed at the Inari shrine at Oji. According to folklore, ghostly foxes gathered at the nettle tree near the shrine on New Year's Eve. The number of lights (each one a fox) was thought to predict the abundance of the harvest in the coming year. The nettle tree in the print actually existed and was cut down early in this century." [source]

"In the late 1850s, while Japanese color prints were dominated by themes of the fantastic, Hiroshige emphasized the realities of the observed world in his work. However, here he has ventured into the world of spirits. It was believed that on New Year's Eve all the foxes of the surrounding provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional cult of the god Inari. There the foxes would change their dress for a visit to the shrine, where they would be given orders for the coming year. On the way, the animals would emit distinctive flames by which local farmers were able to predict the crops of the coming year." [source]

Dawn in Yoshiwara

"Daybreak had classic associations in Japanese literature with parting lovers, and the scene played out by the four figures at the center of this print is in keeping with that tradition. It is early dawn in the Yoshiwara, the popular licensed pleasure quarters for the Edo demimonde. To the left is a departing guest, his "cheek-cover hood" discreetly in place for the journey home. An attendant to the rear seems anxious to return to bed, while another one with a lantern stands in front of the guest, facing awkwardly away from him and toward the courtesan, who is clad in a bright-red overgarment and wears raised black clogs that mark her high rank." [source]

"From the dark and cold winter to the fresh and sparkling spring. Here Hiroshige has placed the viewers in a strangely evocative zone of transition, as dawn breaks in the Yoshiwara licensed quarter. The cherries, a peculiar Yohiwara’s institution, are in flower. Every year, for the brief duration of their spectacular bloom, they were temporarily transplanted to a raised bed of soil and then whisked away. The place is one of the several side streets leading out into the central avenue. To get out of the Yoshiwara’s enchanted world, one must make a turn: to the left from our point of view, toward Ômon Gate, the one point of entry and departure for visitors. The lead figure we see here is probably going home and therefore heading to the Gate. The smaller figures behind him are: a high rank courtesan wearing raised black clogs and her guest (to the left). The two other figures are two attendants that are escorting the couple through the darkness. Daybreak had classic associations in Japanese literature with parting lovers." [source]

Cherry Blossoms on the Banks of the Tama River

"The "Tama River," actually the Tama River Aqueduct, carried much of the drinking water for the city of Edo along a thirty-mile course. Hiroshige's springtime view vividly conveys a freshness and vitality befitting this lifeline. The cherry trees were planted along much of the embankment in the 1730s. The placement was not only aesthetic but also practical: the trees' roots strengthened the banks, and their petals and leaves were thought to possess antitoxic powers that kept the water pure. [..]

The Tama River Aqueduct shown here was constructed in 1653-54. It carried drinking water for the city of Edo along a 30-mile course, and continued to carry much of the water supply for the city of Tokyo until the 1960's. Then the old Edo wooden system was replaced with modern equipment and this part of the canal, no longer needed, was paved over. The cherry trees along the embankment were planted in the 1730's and were not only a source of beauty, but helped to keep the water pure through the allegedly antitoxic powers of the leaves and petals. To the left is the entrance to one of the smaller samurai estates. In the Edo period, most of this park was the estate of the Naito clan, lords of Takata; subsequently, it served as an agricultural college, a private imperial garden and since 1949 as a public park. The two-story buildings mark the Naito Shinjuku settlement, where one can see a customer and thee "serving girls" as they were known, in the rear quarters of a brothel to the right of the canal." [source]

Kinokuni Hill and Distant View of

Akasaka and the Tameike Pond

"The forward guard of a procession of samurai comes strutting up Kinokuni Hill with the Akasaka district in the distance. He wears a stern expression, intent on balancing in the palm of his hand a tufted standard that he would from time to time twirl and toss in the air. Some commentators have faulted Hiroshige for the downhill appearance of this uphill slope, but he is merely setting the stage for the performers. The figures probably belong to one side of a double-file procession, marching in a rhythmic goose step that is only hinted at by their tense posture. [..]

This view shows a daimyo procession marching up Kinokuni Hill, with Akasaka district in the distance. Shown here is only one side of a double file procession. These figures were well known for their performing skills, twirling and tossing these standards, which are seen well balanced in the palms of their hands. The forward guard is wearing a jacket of indigo-dyed "shobu leather," named after the pattern of shobu leaves (seen also in print 64 of the series) on the shoulders. Kinokuni Hill ran outside the estate of the Tokugawa lord of Kinokuni (Kii Province, now Wakayama Prefecture). The Kii estate became Akasaka Detached Palace in the Meiji Period, then was the residence of the emperor until 1888. In 1909 it became a grand Western-style palace that remains there today and is now used as a state guest house. At the lower left is a section of the Outer Moat, known today as Benkeibori. In the far center distance is a fire tower and shogunal firefighter barracks, which today is the Hotel Okura Annex. Behind the procession, in the forest, is one of the estates of Asano of Hiroshima, which in modern times has been a military court, a prison, a barracks, and today is the site of the TBS broadcasting empire. At the far right is another fire tower of another shogunal barracks." [source]

Plum Orchard in Kamada

"The entire Kamata area south of Ōmori was known for the cultivation of plum trees and was celebrated more for its early summertime fruits than its springtime blossoms. The gentle beauty of this print tends to distract the viewer from the structure intruding from the right. It is a cushioned palanquin known as a yamakago ("mountain palanquin"), once widely used for travel in Japan. The overgarment left casually on top suggests that a traveler has recently stopped off for a brief rest from the nearby Tokaido highway that linked Edo to Kyoto. [..]

View of the extensive Plum Garden in the Kamata area. The estate which was open to the public complete with teahouses and a restaurant dated from the early Bunsei Period (1818-1830) and came to be known as the "Plum Mansion" (Umeyashiki), with its several hundred trees extending into the distance. The owner of the mansion was a medicine dealer from Omori, whose chief product was a cold remedy called Wachusan. The structure on the right is an indigo cushioned palanquin of the simple A-frame type known as a "yamakago" ("mountain palanquin") and was used widely for travel in Japan, suggesting that a traveler had stopped off from nearby Tokaido for a rest, leaving an over garment on top." [source]

Yatsumi Bridge

"Although Yatsumi Bridge literally means "Eight-View Bridge," a more accurate translation would be "Eight-Bridge View" since from it one could see eight different bridges, including Yatsumi itself, on which the viewer is standing. This bridge was one of the busiest in Edo and joined the mouth of the Nihonbashi River with the outer moat of Edo Castle. So heavily traveled was the bridge that its southern approach served as the site of a stone post on which notices of lost children were pasted. The only allusion to this bustling site in an otherwise placid scene is the two parasols moving along at the lower left. [..]

A luxuriant willow frames the upper right of the placid scene, its elegant branches drooping low into the composition. Below, two men slowly pole a boat stacked with kindling while solitary fishermen, their boats tied to anchor poles, dip square nets into the shallow water. In the middle distance, Edo Castle stretches the width of the view, and Mount Fuji lies on the horizon with its customary majesty. A pair of swallows gracefully course in the summer sky. If we had actually been standing at the viewpoint Hiroshige has created, we would have experienced a bustle that the artist only alludes to in the two parasols moving across the bridge at the lower left. This is Ichikoku Bridge, one of the busiest in Edo, where the mouth of the Nihonbashi River joined the outer moat of the castle. So heavily traveled was the bridge that its southern approach served as the logical site for a stone post to which notices for lost children were pasted; the post which survived at the site today is dated 1857, one year after Hiroshige's view was published. Yatsumi Bridge, the alternate name of Ichikoku Bridge that is used in the title, literally means "Eight-View Bridge," but it more accurately translated 'Eight-Bridge View," since from this point fully eight different bridges were visible- including the one we are standing on. Two more may be seen in this view - Zenimake Bridge in the foreground and (barely) Dosan Bridge beyond. Out of sight are Tokiwa Bridge to the right , Gofuku and Kaji Bridges to the left, and Nihonbashi and Edobashi Bridges (see print 43 of the series) directly behind us. This scene is utterly transformed today. The moats to left and center have been filled in, and the curve of the Nohinbashi River lies in the shadow of an elevated highway. The purplish horizontal streak in the center of Hiroshige's view is now Marunouchi, Tokyo's central business district. It is hard to believe that it was actually possible to fish here, in the very center of the city." [source]

The Fukagawa Lumberyards

"The Fukagawa lumberyards, site of part of the huge supply of lumber needed by the world's largest wooden city, were of great economic importance. In early Edo, lumber was kept closer to the center of town. However, in the wake of a fire in 1641 that destroyed not only houses but the lumber needed to rebuild them as well, the government ordered the yards removed to the Fukagawa district. The snow falling on the water here provides one of the brightest images of winter in the series. [..]

After the fire in 1641 which destroyed both houses and the lumber needed to rebuild them, lumberyards were removed to the Fukagawa district, east of the Sumida River, to the place officially named Fukagawa Kiba ("wood place"). In this scene one sees the leaning poles, two sparrows, two loggers, two puppies, and at the bottom, a yellow umbrella which has the "fish mark" of the publisher Uoei. The lumber was transported to and from the Kiba lashed onto rafts and poled by skilled loggers, two of whom are seen here wearing straw capes. The Fukagawa lumberyards survived until the mid 1970's when the land began to subside, obstructing the passage of the lumber boats. Today, much of Tokyo's lumber arrives by ship from all over the world and is then transported by truck. However, Kiba survives as a place name." [source]

The Ferry at Sakasai

"The birds that dominate this scene in the swampy delta area around the village of Sakasai east of Edo have been accorded special attention, with their wing patterns executed in delicate karazuri embossing. Judging from the bushy crests and yellow bills, the birds are Chinese egrets—a species only rarely seen in the summer in Japan. Far more common was the little egret, with no crest and a black bill. The artist naturally preferred the more decorative species, whether it was to be found in the place or not. [..]

The center of attraction here are the Chinese egrets, with their bushy crests and yellow bills, that are shown inhabiting the Nakagawa River. In the distance is a lone cargo boatman and two ferries passing each other near the landing. The Sakasai ferry was named after the neighboring village on the far side and was replaced by a Sakasai Bridge in 1879, the first bridge built across the Nakagawa. The Chinese egrets, shown here, were rarely seen in the summer in Japan and today egrets of any type are rare in this densely settled part of Tokyo." [source]

Hatsune Riding Ground in Bakuro-chō

"The three colorful strips of cloth in the foreground of this print are not celebratory banners but bolts of cloth that dyers have hung out to dry. Hiroshige emphasizes the cloth's materiality by embossing a textured weave pattern on the surface of the white bolt. In the distance stands one of the many fire-watch towers scattered throughout the city. The buildings below were largely devoted to lodging visitors to Edo, maintaining the long-established function of this site as a point of entry and departure for travelers from the north. [..]

Spring scene of the open space known as Hatsune no Baba, located in downtown Edo not far from Asakusa Gate. This space was originally a horse-riding grounds (baba) for practice by the shogun's retainers, the oldest of several such in Edo (see Pl. 115 for another). By Hiroshige's time, however, it no longer played a role in the defense of Edo but was now retained as an idle space in a crowded part of the city, with willows planted around its perimeter. This print provides evidence that dyers from Kon ya-cho, several blocks to the west (see Pl. 75) had taken to using the space for drying their cloth, three blots of which are strung between posts in the foreground. In the background to the left is a watchtower for fires. The buildings below are largely devoted to lodgings for visitors to Edo, maintaining the long-established function of this site at a point of entry and departure along the Oshu highway for travelers from the north. The open area, besides being used for drying newly dyed cloth, was also used at night by nearby match makers for testing the quality of their sulphur. Difficult to see in reproduction is the textured cloth pattern on the white strip of cloth, created by a technique known as nunome-zuri, "fabric-printing." This technique was used frequently in the first paintings of the "One Hundred Famous Views of Edo," most commonly in the title cartouches, but also as here when actual fabric was depicted. It was achieved by pressing a piece of silk into the moistened paper, leaving the pattern of the weave delicately embossed on the surface." [source]

Scattered Pines on the Tone River

"We can almost hear the swish as the fisherman casts his net out over the Tone River. The stubby lead weights around the edge of the net form a pleasing border to the intricate web within, a masterpiece of carving technique. Through the net is a blurred continuation of the distant shore. The "scattered pines" of the title may be explained by the pine trees on the island at the left, worn and twisted by the wind. The place was popular among fishermen for its carp. [..]

This scene shows a fisherman casting his net, with lead weights around the edge, into the Tone River. The location depicted was known for its carp and the wind twisted pine trees mentioned in the title appear on the shore to the left. In Hiroshige's day, "Tone River" referred to what is now the Edogawa River. It has been suggested that the "Barabaramatsu" in the title referred to more than one place, perhaps various groups of scattered pines along the riverbanks in this region." [source]

The Ayase River and Kanegafuchi

"Here we reach the farthest point north in the progression along the Sumida River that began in number 55. The view is from the west bank, looking across to the northeast at the point where the Ayase River flows into the Sumida. This isolated site, called Kanegafuchi, was known for the planting of silk trees, a kind of mimosa, along the bank. Hiroshige has framed the view with one of the trees in full bloom. The silk like filaments that give the tree its name are expressed in light pink lines accented with black. Beyond is a boatman whose bold garment echoes the pattern of the blossoms. [..]

This view looks at the point where the Ayase River flows into the Sumida; due to its curve and convergence with the Ayase, the water here was deeper and the flow more rapid than elsewhere on the Sumida. The story is told of a temple bell which fell into the river during a flood, sinking to the bottom and giving the name Kanegafuchi, "bell depths" for the stretch of the river. This location was also known for its silk trees, a kind of mimosa, growing along the bank. This scene shows one of the trees in full bloom with its silk like pink flowers accented in black. The boatman below is dressed in a bold patterned garment and a heron flies above the reeds. In 1887 the Kanegafuchi Spinning Company was constructed on the south bank of the Ayase River (the area to the far right), a joint venture of five Tokyo cotton-thread dealers, known as "kanebo." In time it became Japan's largest cotton-spinning firm and has since diversified into cosmetics." [source]

Asakusa Rice Fields and Torinomachi Festival

"Hiroshige here presents the Yoshiwara pleasure quarters on the single busiest day of the year. However, from the second story of a brothel, the noise and activity seems far away. In the distance, crossing the Asakusa Ricefields, is a procession celebrating the Torinomachi Festival. On this day, the Yoshiwara was open to everyone, including ordinary women. It was also a monbi, one of the special days on which each courtesan was required by tradition to take a customer—or to pay the fee to the brothel owner if she failed. Casually arranged in the foreground are a courtesan's accouterments. Peeping out from behind the border of a screen are tissue papers delicately known as "paper for the honorable act." [..]

This image offers a view from the second story of a Yoshiwara brothel over the Asakusa Ricefields, toward a dense procession of visitors to the Torinomachi Festival, held at Washi Daimyojin Shrine (to the right - not seen here). The god of this shrine is an eagle (washi), popular among those in the entertainment trades. Particularly popular during the festival were "kumade," bamboo rakes decorated with symbols of prosperity offered at the many stalls in and around Washi Shrine. It was the only time ordinary women were allowed to enter the gates to the Yoshiwara. It was also a "monbi," a special day on which each courtesan was required by tradition to take a customer, or pay the fee to the brothel owner if she failed. It was the single busiest day of the year in the Yoshiwara. This scene shows the room of a courtesan who has just had an afternoon customer. He probably brought her as a gift the set of "kumade" hairpins, one of which has been pulled out and admired. On the window sill is a mouth-rinsing bowl and a used towel; to the left is the border of a folding screen decorated with a bird motif, and just above the hairpins is a parcel of tissue papers delicately known as onkotogami, or "paper for the honorable act." In the foreground is an exquisitely detailed cat." [source]

Mount Atago in Shiba

"Hiroshige dramatically interrupts this view from Mount Atago in the district of Shiba southwest of Edo with a figure holding an immense rice paddle. The inscription over the artist's signature to the left identifies the figure as the central actor in the "Heaping Rice Ceremony" performed at the Atago Shrine on the third day of the New Year. In real life, this man was the proprietor of the Atagoya teahouse at the top of Mount Atago. Here however he is dressed in an elaborate costume emblematic of the New Year and of prayers for its bounty. [..]

Scene of the "Messenger of Bishamon" on this third day of the New Year. He is the central actor in the "Heaping Rice Ceremony" performed at the Atago Shrine, dressed in a costume designed for the new year. In real life, he is the proprietor of the Atagoya teahouse at the top of the hill. He wears a ceremonial robe over which are draped strips of kelp which will later be chopped up and according to custom be distributed to shrine believers for the making of a tea guaranteed to ward off colds. He is wearing an upside-down basket on his head, with a citrus fruit and a helmet ornament. Strips of sacred paper are draped from the neck and he is holding an immense rice paddle, all tokens of the martial spirit of Bishamon-ten (one of the four guardian deities of Buddhism as well as one of Japan's Seven Gods of Happiness). At the end of the ceremony, the messenger descends the eighty-six stone steps at the foot of the hill, and greets the clergymen there who are eating from "heaping rice" bowls. Striking his giant paddle, he instructs his audience, "eat, eat." After their reply, "we will, we will," he returns up the steps and re-enters the gate of the shrine. (By custom he was required to walk balanced on high single-toothed clogs.)" [source]

The Sumiyoshi Festival at Tsukudajima

"In the middle distance, a chanting mob of young men carries the sacred palanquin of the Sumiyoshi Shrine through the shallow flats surrounding the island of Tsukudajima. The giant banner in the foreground bears the inscription "Sumiyoshi Daimyōjin," an honorific title of the shrine deities, with the names of donors below. The smaller inscriptions to either side provide the date and the name of the calligrapher, Seikengū Gengyo. This is none other than the poet and artist Baisotei Gengyo, the designer of the Table of Contents for this series. [..]

A group of men are carrying the sacred palanquin of the Sumiyoshi Shrine though the water encircling the island of Tsukudajima, at the mouth of the Sumida River. The tiny island of Tsukudajima was claimed by a group of thirty-four whitebait fishermen in 1645-46 who brought with them the name Tsukuda and their local Sumiyoshi divinity, the protector of mariners and fishermen. The festival commemorating this move was held on the twenty-ninth day of the Sixth Month in 1646 and every third year thereafter - including the year in which this print appeared. The celebration of this festival continues today, although the practice of mizu togyo (carrying the shrine through the water), discontinued in 1963. The giant banner in the center is inscribed in archaic script "Sumiyoshi Daimyojin," and the smaller inscriptions to either side show the date and the name of the calligrapher, Seikengu Gengyo, who is the poet and artist Baisotei Gengyo who designed the Table of Contents for this series. The date on the banner is just one month earlier than the publication of the print itself. The banner still remains in the treasury of the Sumiyoshi Shrine. On the right-hand side is a section of a red festival shrine lantern." [source]

Shops with Cotton Goods in Ōdenma-chō

"Here we see a boisterous procession of carpenters, among the most powerful artisans in Edo, a city built of wood. To the left is the great dry-goods house of Daimaru, in the prosperous district of Ōdenma-chō, suggesting the interlocked fortunes of Edo merchants and Edo builders. The shop sign to the upper left bears the slogan "Cash payment, prices as marked." This practice, established in Japan as early as 1683, broke down the traditional class-based relationships between seller and buyer, making all customers equal. [..]

This boisterous procession is called "sending off the master carpenter" (toryo-okuri) and it followed the ridgepole-raising ceremony for a new building. Since most of the structures in Edo were built of wood, fires were frequent, rebuilding was constant, and the carpenters were among the most powerful artisans in the city. The ceremony lasted several hours, beginning with rituals conducted by a Shinto priest on a platform atop the roof of the newly framed structure, on which the symbolic items, seen here on a pole, were displayed. This sacred pole has cloth strips of five colors, paper "gohei" above, in between three fans with the rising sun symbol surrounding a mirror, below women's hair accessories, said to be symbolic of the sacrifice of a young maiden at the beginning of a large building project. Next came two ceremonial "exorcising arrows," and on the arrows are mounted large carvings of the crane and the tortoise, symbols of long life. The chief carpenter is leading the procession and he is followed by the construction bosses, each in mock samurai ceremonial dress. After the rituals, the homeowner provided a banquet with plenty of drink. The marchers, seen with open mouths, are singing a work song. In this prosperous district of Odenma-cho, at left, is the well-known dry goods store Daimaru. The storefront of Daimaru is shown in careful detail, suggesting the idea of mutual prosperity. Daimaru was a branch of a Kyoto establishment, founded in 1717 by Shimomura Hikouemon (whose family name appears on the sign here) and expanded to Edo in 1743. The shop sign to the upper left says "cash payment prices as marked"; marking fixed prices on merchandise was a practice first established in Japan as early as 1683 and Daimaru followed competitively. It has been said that fixed pricing made all customers equal and that an egalitarian mass society had begun to emerge in Edo far earlier than anywhere else in the world. Today Daimaru continues to thrive at its new location, right over the east entrance of Tokyo Station." [source]

Suidō Bridge and the Surugadai Quarter

"Without the three immense carp banners, this view would have been a classic depiction of samurai Edo, looking southwest over the densest single concentration of samurai households in the city, from Surugadai on the left through Banchō in the distance. The banners and streamers indicate that the time is the Boy's Festival, the fifth day of the Fifth Month. The three carp are standards used by commoners in imitation of the military streamers, which they were prohibited from flying. The banners drew on a Chinese legend of a fish so strong that it could leap a waterfall—an image considered appropriate for young boys. This view thus seems to depict witty merchant-class mimicry of the samurai version of the Boy's Festival. [..]

This view celebrates the Boy's Festival, which takes place the 5th day of the 5th month. The scene looks across the Kanda River, over the expanse of the densest single concentration of samurai in the city, extending from Surugadai on the left through Bancho in the distance. A samurai procession passes over the Suido Bridge in the lower right. The tall banners, known as "fukinagashi" (military streamers) and the vertical "nobori" banners with portraits of Shoki, the Demon Queller of Chinese legend indicate the time is the Boys Festival, the fifth day of the fifth month. It should be noted that the designation of the month "i5"/1857 shown above, indicates that it was an extra or "intercalary" month inserted to let the calendar catch up. It was a practice for each of the samurai households to fly the banners shown here, celebrating a boy of age six or seven. The three large carps, by contrast, are marks of the "choinin" city and were used by comers for the Boys Festival imitating the military "fukinagashi," which they were prohibited from flying. According to Chinese legend, the paper and later silk carps signify a fish so strong and persistent that it could leap a waterfall. As noted in the Introduction to this series, Hiroshige himself was of samurai origin, a genuine hereditary retainer of the shogun, qualified to wear two swords and to hold formal office within a bakufu fire brigade until age thirty-six. The center shows a black free-standing fire tower. Hiroshige was undoubtedly familiar with this part of town." [source]

Shitaya Hirokōji

"This print depicts a fascinating array of customs. In the immediate foreground are three samurai, identifiable by their double swords but unusual for their Western pants, a recent import popular among younger samurai. The identical parasols, uneven procession, and diverse dress of the women ahead mark them as a group of merchant-class tourists. They are on their way to view the cherry blossoms hinted at by the rosy-tinged cloud in the distance. [..]

Busy street looking down a long row of shops with a detailed depiction of one particular store, in this case, the silk store "Ito Matsuzakaya" and two delivery men bearing large packs with the shop crest. The site today is still occupied by Matsuzakaya, which like Mitsukoshi (pl. 8) has become one of Tokyo's major department stores. The subway stop in front is now called Ueno Hirokoji, and the tradition of a broad pedestrian space continues in contemporary Tokyo. In the immediate foreground there is a group of three samurai, identified by their two swords but unusual in the Western pants they wear; these were a recent import that spread rapidly among younger samurai for their distinctive style and ease of movement. (This series was begun three years after Admiral Perry "opened" Japan.) A large group of women carrying red parasols are probably students at some school of chanting or dancing, on their way to view the cherry blossoms at Kan'eiji, followed by a group of men carrying the appropriate refreshments. The small building just to the right of the head of the procession is a barbershop, where class status was marked above all by hair style. A bank of stylized clouds, comparable to the clouds in the preceding print, hangs over the forested mass of the temple beyond." [source]

Senju Great Bridge

"Senju Great Bridge was originally known as the Great Bridge as it was the only bridge over the Sumida River, (known here as the Arakawa River - or even more locally as the Senju River) until the Ryogoku Bridge was completed in 1661. Senju Great Bridge was not only the first bridge across the Sumida but it also survived the longest, due to its sturdy construction and rot-resistant timber supplied by the lord of Sendai, the most powerful daimyo to use the bridge regularly. Senju Great Bridge, built in 1594, finally washed away in the great flood of 1885. The buildings on the far side of the river are part of the Senju settlement, the first official post town on the road to the north. It was one of Edo's four post stations, together with Shinagawa (shown in print 83 of this series), Naito Shinjuku (print 86), and Itabashi. The mountain in the distance is thought to be Mount Buko." [source]

View of Nihonbashi itchōme Street

"It is a hot summer day in the middle of the Main Street of Edo in the bustling Nihonbashi district, and almost everyone hides under a hat or a parasol, intent on avoiding the sun. Under a huge two-tiered parasol is a group of dancers who performed celebratory shrine dances for donations. Called Sumiyoshi dancers because of their origin as seasonal minstrels from Sumiyoshi Shrine near the city of Osaka, they had evolved by Hiroshige's time into native Edo street performers. Following them is a different sort of street minstrel, from the outcast hinin class. Such women sang songs accompanied by the samisen, a lute-like instrument, and were always escorted at a distance by a husband or a father. [..]

This scene is in the middle of the main street in Edo, on a hot summer day; most of the people are under hats or parasols to escape the sun. The older man on the right is eating a yellow Makuwa melon and beyond him to the left, a delivery boy is almost hidden by his tray load of noodle boxes from the sboa shop Tokyoan (the white noren in center). A group of Sumiyoshi dancers are under a huge two-tiered parasol. Originally, the Sumiyoshi dancers were seasonal minstrels from Sumiyoshi Shrine, near Osaka, who would perform celebratory shrine dances in return for donations. The five dancers here are wearing their costumes of straw materials, red aprons, white fans and sedge hats, topped by the blue parasol with red shashes and white "gohei." Following the dancers is a female street minstrel, the "onna-dayu," who along with others would sing to shamisen accompaniment. The onna-dayu were from the outcast "hinin" class and were always followed at a distance by a husband or father. It was suggested by Miyao Shigeo that this woman following the Sumiyoshi dancers might be their samisen accompanist. The street scene here is the cotton sellers district, occupied by merchants from the Omi region. The Sumiyoshi dancers were traditionally dressed in cotton; the onna-dayu were prohibited by class barriers from wearing silk but were known for their stylish cotton kimonos, as seen here, closely fitted and wearing high "geta" clogs. The large store to the right is Shirokaya, founded in 1662 and one of Tokyo's great modern department stores, now part of a Tokyo chain." [source]

Mokuboji Temple and Vegetable Fields

on Uchigawa Inlet

"Two well-dressed ladies disembark from the boat by which they have traveled up the Sumida River into the inlet known as Uchigawa. Their destination is one of Edo's famous suburban restaurants, seen in the upper right. Located within the precincts of Mokuboji Temple, which lies out of sight to the right, it specialized in dishes of taro and clams and was much prized among stylish residents of Edo. The area to the left with pines was known as Gozensaihata, or "The Honorable Vegetable Garden." Beginning in the 1650s, fresh vegetables for the shogun's table were produced there. It is unclear, however, if that practice still continued in Hiroshige's day. [..]

Two ladies are seen alighting from the boat in Uchigawa Inlet on their way to one of Edo's famous suburban restaurants, known as Uehan (named after the owner, Uekiya Han'emon) which specialized in taro and clams. The nearby Mokuboji Temple, not shown here, originated in the year 976 when a young boy (Umewaka) was kidnapped by a slave trader when he lost his way on the road near Kyoto and was brought here, where he finally died of sickness and exhaustion on the banks of the Sumida River. A wandering priest erected a mound in his memory, which grew into the shrine-temple complex of Mokuboji. The mound survives today and services in his memory are held each year on April 15. The area on the left by the pine trees was known as Gozensaihata, or "the honorable vegetable garden," which produced fresh vegetables for the shogun's table. This area was obliterated by bombing during World War II; both sides of the Sumida have been leveled and construction has begun to provide high-rise housing and emergency evacuation in case of flood or earthquake. Mokuboji was relocated to a site closer to the Sumida in the middle of what was once the mouth of the Uchigawa Inlet." [source]

Meguro Drum Bridge and Sunset Hill

"Of the two attractions mentioned in the title, the Drum Bridge was the more celebrated site in the Meguro area. Arched bridges were unusual enough in Edo, but even more curious was a stone bridge, which offered few advantages in a city prone to earthquakes. Rounded forms and stone structures were more common in China than in Japan, suggesting a Chinese prototype for this bridge, although it is said to have been designed in the 1740s by a wandering priest inspired by a similar one in Kyushu, Japan. Hiroshige evokes a greater sense of isolation, even loneliness, in this snow scene by offering an oblique view. [..]

A view of the famous drum bridge in the valley of the Meguro River, the main route to the shrine of Meguro Fudo (not seen here and one of the few shrines not shown in this series). Arched, stone bridges were unusual in Edo, as they did not withstand earthquakes well, and this type of structure was more common in China than Japan. By 1919, this bridge was replaced by a steel structure, which although flat, does have an arch shape in the railings. On the left, the road leads up a steep slope known as Gyoninzaka, named after a wandering ascetic (gyonin) who founded the temple of Daienji on the side of the hill. The slope leading down from Meguro Station still survives today. The Sunset Hill of the title is shown at the left and was once known for its brilliant maple trees, although they had disappeared before this print was published. The hill has been the site of Gajoen, a large hotel and banquet palace, since 1931. This print portrays particular skill in depicting snow accumulation on the tree branches. The coming spring might be suggested by the use of green bokashi on the title cartouche." [source]

Silk Shops in Ōdenma-chō

Minowa, Kanasugi and Mikawashima

"The title of this print lists three different villages northwest of the Yoshiwara pleasure quarters. The names that appear first probably represent the nearest places in the view. This would mean that it is a scene looking from Minowa and Kanasugi toward Mikawashima, to the west or northwest. Mikawashima was where the shogun's Crane Hunt occurred almost every year during the winter months, when cranes migrated to Japan. The auspicious nature of the crane made it an important ceremonial gift. Aside from the one or two birds taken on each hunt, the cranes of Mikawashima were carefully protected, as Hiroshige has depicted: the figure in the background is carrying buckets filled with rice with which to feed them. [..]

The title of this print lists the names of three different villages in an area northwest of the Yoshiwara and is most likely looking from Minowa and Kanasugi toward Mikawashima. Mikawashima is the site of the shogun's crane hunt in the winter, when cranes migrate to Japan. The shogun, in the company of seventy or eighty others, would release the first hawk; a crane was then captured and lashed to bamboo poles and taken to Kyoto to be presented to the emperor. Cranes were considered extremely auspicious birds, and yet they were hunted and eaten, at least on this special occasion. The crane shown here is the Japanese crane, called "tancho," or "red-crest" after the bald red spot on its head. Today only a few hundred of these protected birds survive in eastern Hokkaido. The tancho has pure white feathers, depicted by a blind-printed pattern on the backs of the birds; the blackening near the shoulders of the upper bird might be from the effects of the atmosphere on white lead pigment." [source]

The print sampling above was sourced from Japan's National Diet Library which houses - in my opinion - the best quality and largest image files of Hiroshige's '100 Famous Views of Edo' available online (Edo is an earlier name for Tokyo). {The images can be found by clicking on an arrow in the sidebar, top left of that page; translating the page and then the image pages is the simplest path through the set at any rate}
There are a number of editions available on Amazon.
There are other online image sets at Brooklyn Musuem (from which most of the quoted commentary above comes), Flickr, Wikipedia, and various other sites have varying numbers of prints from this popular series.
Ando Hiroshige | Ando Hiroshige Prints | Ukiyo-e woodblock prints.
Previously: Japan ~~ Printing.
Just by the by, a single signed print from the series sold 4 years ago for $10,000.
The images above were cropped back to the page margins and uploaded at about one half the size available on NDL's site.

A Man of Wealth and Taste

2013-04-24T04:46:00.000+10:00

"The Antichrist is a Christian concept based on interpretation of passages in the New Testament. [..T]he term "antichrist" occurs five times in 1 John and 2 John, once in plural form and four times in the singular. In traditional Christian belief, Jesus the Messiah appears in his Second Coming to Earth, to face the emergence of the Antichrist figure. Just as Christ is the savior and the ideal model for humanity, his opponent in the End of Days will be a single figure of concentrated evil." [W]

"[T]he idea of an Antichrist is central to the apocalyptic world view that sees human history as a struggle between God and Satan for the fate of mankind.

According to most Christian prophesies of the End Time, the Antichrist will act as Satan's chief agent on earth during this period. The Antichrist -- a sort of evil twin of Jesus in many ways -- will forge a one-world government through promises of peace. But when Jesus returns, he will expose the Antichrist as an impostor, defeat him in the battle of Armageddon, and reign with the Christian martyrs for a thousand years on earth.

Robert Fuller, in his book 'Naming the Antichrist', notes that modern apocalypticists believe the Book of Revelation "contains much information about the Antichrist -- who will emerge as a 'beast from the sea' to be Satan's ally in a last, desperate assault on Christ and his church." This 'parody and mirror opposite of Christ' will be identifiable in a number of ways:

· Promising peace to those who follow him, he will rise to a position of great power.

· With the help of his own false prophet, the Antichrist will gain control of the world economy, by forcing each person "to be marked on the right hand or the forehead, so that no one can buy or sell unless he has the mark, that is, the name of the beast or the number of its name . . . six hundred and sixty-six"

· One of the heads of the beast also "seemed to have a mortal wound, but its mortal wound was healed, and the whole earth followed the beast with wonder.' "

[Frontline (PBS) - apocalypse! show webpages]

'Der Antichrist', by Johann Pruss, was published in 1482 and is available online courtesy of the Bavarian State Library. [click 'Miniaturansich' for thumbnail pages] The illustrations above are slightly cropped.
Worldcat entry.

There is virtually zero information online about this incunabulum. There is a little bit more commentary about the book's producer: "Johann Prüss worked as a printer, publisher, and book dealer at the house "Zum Thiergarten" in Strasbourg from 1480 until 1510."

ADDIT: Thanks to Allen G from Musica Ficta for pointing out this wonderful example of 16th century German printing.

Please allow me to introduce myself
I'm a man of wealth and taste
I've been around for a long, long year
Stole many a mans soul and faith
And I was round when jesus christ
Had his moment of doubt and pain
Made damn sure that pilate
Washed his hands and sealed his fate
Pleased to meet you
Hope you guess my name
But what's puzzling you
Is the nature of my game ...
[Jagger/Richards]

Sympathy for the Devil
{Rolling Stones, live. ?2009}

Regular readers will have noticed a long period of downtime around here lately. I've always believed this site functions best when I'm feeling most motivated rather than by schedule, so publishing times have always tended towards the irratical. A family dilemma a couple of months ago took up a lot of my time and it paved the way to something of a lazy hiatus from preparing material for BibliOdyssey. There's certain to be ongoing fallout in my life from that family event, so I won't make promises about the future of this place. But I certainly have no plans for quitting. New posts will appear - per usual - when they are ready which usually means when I've had enough of the reading and the writing and the tinkering. You're always welcome to write with suggestions, tips and/or questions [gmail peacay]. I am and have remained active on Twitter. And thanks to those who have contacted lately to check on me and to offer support.

Fables de Florian

2013-02-10T02:13:00.000+11:00

1930s book illustrations by Benjamin Rabier

The (translated) list of anthropomorphic fables in this Benjamin Rabier-illustrated version of Florian's original 18th century children's tales:
The cat and the mirror - Beef horse and donkey - Carp and carpillons - The cowboy and the gamekeeper - The Cat and the bezel - The blind and the lame - Mother the child and opossums - The Mole and rabbits - the sheep and the dog - The Cricket - The monkey magic lantern shows - The brouvreuil and raven - The young and the old hen fox - The child and the mirror - Two cats - horse and foal - The hedgehog and rabbit - The Phoenix - The cat and the sparrow - The linnet - The fox preaches - monkeys and leopard - Wild boar and nightingales - The rhinoceros and camel - The squirrel, the dog and the fox - Hare, her friends and two deer - Peacock, both goslings and diving - the monkey, the monkey and nuts - fox disguised - The owl, cat, rat and goose - The parrot confident - The snake and leech - The Parrot - The cats and rats - both farmers and the cloud - Leopard and squirrel - The lion and leopard - The dog - The donkey and the flute - The rabbit and Teal - The crocodile and sturgeon - The wasp bee - The warbler and nightingale.

Jean-Pierre Claris de Florian (1755-1794) was a French poet, romance and comedy writer, fabulist and pastoral novelist. He was elected to the Académie Française in 1788. Florian is best remembered for his children's fable verses, drawing from both traditional sources such Aesop as well as his own imagination.

Florian was arrested and imprisoned during the French Revolution and managed to avoid the guillotine during Robespierre's Reign of Terror. However, he died a year later at 39 years of age from an illness while still in jail.

Florian's most famous line might well be:
"Rira bien qui rira le dernier" or "He who laughs last, laughs best!"

The images above, from 'Fables de Florian / Illustrées par Benjamin Rabier' (1936), are hosted online by Rosalis, Bibliothèque Numérique de Toulouse.
From the same source & same illustrator on BibliOdyssey a couple of months ago: Le Buffon Choisi: this post has more background on the illustrator and further links.
Agence Eureka has many Rabier posts.
Wonderful Japanese illustrations of the Florian Fables from 1895: Volume One & Volume Two.
Fables de Florian pour lire, en Français.
Jean-Pierre Claris de Florian et les fables [trans.]
At the Internet Archive: 'Fables de Florian : avec des notes par madame Amable Tastu ; suivies d'un choix de fables de nos meilleurs fabulistes' (1845) {steel engravings by Bertrand}
http://www.benjaminrabier.com/
Jean-Pierre Claris de Florian at Wikipedia.

Atlas Blaeu-Van der Hem

2013-02-04T19:09:00.001+11:00

This is one of the finest collections of 17th century cartographical prints and drawings in existence. Joan Blaeu's original 'Atlas Maior' (Great Atlas) from the 1660s was substantially expanded into something of a personal world geo-encyclopaedia in the following decade by the Amsterdam lawyer, Laurens van der Hem, while continuing a visual style established by Blaeu. The gargantuan ~50 volume series -- housed today in the Austrian National Library in Vienna -- includes more than 2400 maps, charts, sketches and birds-eye-views of towns, buildings and harbours, seascapes and landscapes, with the occasional portrait of significant historical figures.

Goa {India}

The Dutch appeared in the Indian waters around Goa in the 17th century and their blockades of the Portuguese territory was responsible for Goa's decline into poverty. Although the colony was never conquered by the Dutch, it became the last remaining city under Portuguese control on the west coast of India. [W]

Unnamed fort town

[UPDATE: this is almost certainly Colombo, Sri Lanka. Here's a very similar version from around the same time, by one of the Vingboons (cartographic) family members [search page] Thank Will C!

"The history of the Dutch East India Company [or VOC: ‘Verenigde {United} Oostindische Compagnie], founded in 1602 and declared bankrupt in 1799, spans almost the whole of the seventeenth and eighteenth centuries. For much of this time it was the world’s largest trading company, owning, at the height of its wealth and power, more than half the world’s sea-going shipping. [..]

The VOC played not only a key role in the history of the Netherlands, but also in that of the other states in which it was involved, from England, France, Spain and Portugal in Europe, to any number of principalities, sultanates and empires along the coasts of Asia, going as far as Japan and China, and including most of the coasts of India, Ceylon, Malaya and what is now Indonesia, to say nothing of the odd port of call in Africa. The VOC’s operations were entirely maritime, at least in principle, and, until late in the eighteenth century, its ports of call were in no sense part of a Dutch colonial empire." [source]

"It was also arguably the first megacorporation, possessing quasi-governmental powers, including the ability to wage war, imprison and execute convicts, negotiate treaties, coin money, and establish colonies. Statistically, the VOC eclipsed all of its rivals in the Asia trade. Between 1602 and 1796 the VOC sent almost a million Europeans to work in the Asia trade on 4,785 ships, and netted for their efforts more than 2.5 million tons of Asian trade goods. By contrast, the rest of Europe combined sent only 882,412 people from 1500 to 1795, and the fleet of the English (later British) East India Company, the VOC’s nearest competitor, was a distant second to its total traffic with 2,690 ships and a mere one-fifth the tonnage of goods carried by the VOC. The VOC enjoyed huge profits from its spice monopoly through most of the 17th century." [source]

Pecheli sive Peking Imperii Sinarum Provincia Prima

Blaeu produced the first western atlas of China, relying on information and drawings contributed by an Italian Jesuit missionary. Inexplicably, this map* identifies Peking ( the modern Beijing) as 'Xuntien' (perhaps after the earlier 17th c. Merian map, based on Marco Polo's 12th c. accounts).

"[Jesuit] Father Martino Martini traveled through the region between 1643 and 1650. This was a period of great internal unrest and his was a perilous journey. He was able to travel inland to the Great Wall and for the first time determined with any scientific accuracy the astronomical position of many cities and topographical features. After establishing a mission in Zhejiang province he returned to Rome via Amsterdam, where he met Joan Blaeu. Blaeu then prepared a group of eight maps covering China in great detail." [source]

Imperii Sinarum Nova Descriptio

"A important general map of China, Korea and Japan, published by Joan Blaeu in the Jesuit Martino Martini's 'Atlas Sinensis' , the first western atlas of China. The discoveries of Joao de Goma and de Vries were incorporated into this map. Korea is no longer depicted as an island. This is the first map to name and show Hokkaido (Ezo) as an island to the north of Honshu. China is mapped with considerable accuracy for the period: even the Great Wall is shown. Martini was the Jesuit Superior in Hangchow and he collated surveys of all the regions of China which he brought back to Europe in 1654 for printing and publication." [source]

Ee Stadt Nangasacky met het Eylandt Schissima, in Japon

(part of the inscription is missing)

The city of Nagasaki and Dejima Island in Japan

"Dejima [meaning Exit] was an artificial island [completed in 1636] built in the shape of a fan with an area of about 13,000 square meters. It was built south of the current [Nagasaki] city center during the Edo Period in order to accommodate Portuguese Christian missionaries and prevent the propagation of their religion. It also used to be the residential quarters of the Dutch, the only foreigners allowed to trade in Japan during the Sakoku (Isolation) Period, and a Dutch Trading House operated on the island. For 200 years, until Japan reopened the country in the 19th century, Dejima was its only window to the world." [source see also: one | two | three]

Malacca

(a city* [aka: Melaka] and state in (the modern) country of Malaysia)

Fokien Imperii Sinarum Provincia Undecima

Another Martino-Blaeu collaborative map. Fokien (Fujian) province* in China is shown opposite the tip of the island of Taiwan (the location/orientation is somewhat incorrect). The mainland map stretches from Whenzhou in the north to Fuzhou in the south.

Eijlant Formosa Generael

The contours of Formosa [Taiwan] and the Piscadores islands (in the south) on this map are identical to those in the Vingboons Atlas [this].

Taioan

Bird's eye view of Tayouan [Taiwan] and Fort Zeelandia*. The survey image

includes a legend identifying government buildings, markets, neighbourhoods etc.

Unnamed island

About the Atlas Blaeu-Van der Hem: -- "When the Latin edition of Joan Blaeu's 'Atlas Maior' was published in 1662, Laurens van der Hem (1621-1678) acquired a copy which he used as the base for an even more ambitious collection of maps, topographical drawings and prints.

Van der Hem arranged the sheets in the Atlas according to his own ideas, amplifying the volumes with more than 1800 maps, charts, townscapes, architectural prints, portraits, etc., many of them beautifully coloured by the well known specialist Dirck Jansz. Besides prints, the atlas also contains a wealth of drawings: maps, town and seascapes, renderings of foreign people etc. To enhance the harmony and unity of the whole, all the sheets were adapted to the size of the 'Atlas Maior'. If they were too wide, they were folded in; if they were too small, they were enlarged, and coloured in such a way that the transition from original print to enlargement became invisible; if the original sheets were too high, they were reduced in format, or cut into pieces, and separately pasted on blank leaves.

Among the most impressive of Van der Hem's additions to the 'Atlas Maior', is the set of four volumes of manuscript-maps and topographical drawings, which were originally made for the VOC (Dutch East India Company). These volumes are known as the *secret atlas of the VOC*. Van der Hem was one of the few private citizens to possess part of this confidential material. Other well known additions to the 'Atlas Maior' include the extensive series of topographical drawings, the majority of which was done by well known artists such as Willem Schellinks, Lambert Doomer, Jan Hackaert, and Reinier Nooms called Zeeman. Thus Van der Hem created an atlas which far extended the scope of Blaeu's original 'Atlas Maior'.

The 'Atlas Blaeu-Van der Hem' contains an inestimable treasure of information, not only in the fields of geography and topography, but also in those of archaeology, architecture, sculpture, ethnography, folklore, heraldry, navigation, fortification and warfare, portraits of famous figures, techniques, public works, and many other aspects of seventeenth-century history, culture, and customs. Moreover, all this information is conveniently arranged in a unified manner. As one scholar put it: "the Atlas is a mirror of the geographical and geopolitical knowledge, available in one of the major trading-nations of the world in those days" [source]

De Heere Michiel Adriatnsz De Ruyter Ridder Lt Admirael

Over De Provintie Van Hollandt En Westfrieslandt {b&w version}

Michiel Adriaenszoon de Ruyter is the most famous, and one of the most

skilled, admirals in Dutch history, and is particularly renowned for

his role in the Anglo-Dutch Wars of the 17th century. [W]

Dutch outrigger

Puerto Rico

Novi Belgii Novaeque Angliae Nec Non Partis Virginiae Tabula

(by Nicolaes Visscher)

"The map [..] included present day New England as well as New Jersey, New York, and Maryland and combines both Dutch and Indian place names. Scattered throughout the map are depictions of native flora and fauna: herons, beavers, wild turkeys, deer, rabbits, bears, muskrats, foxes, and wolves. Stockaded settlements and dugout canoes represent the Indian presence. At the bottom of the map is a striking inset view of New Amsterdam showing period houses, ships in the harbor, a windmill, and even a gallows! To either side of the inset are two female Indian figures, allegorical representations of America. [..]

During the seventeenth century, the Dutch produced both accurate and decorative maps that exemplified the Golden Age of cartography as demonstrated by the Jansson : Visscher series of maps depicting New England. While Jan Jansson's 1651 map entitled "Novi Belgii" is considered to be the first in the series, inaccuracies in the map led Claes Visscher to publish an updated map of the same title around 1655." [source] {See: large zoom/jpeg version of this map at Harvard U}

Forma y Levantado de la Ciudad de México

(Plan and elevation of Mexico City [looking East})

This is an identical copy of the original 1628 watercolour drawing (see here) sketched by the Spanish-Mexican architect, Juan Gómez de Trasmonte. His picture was made as a survey to prepare for expected flooding and was never meant to be published. (Trasmonte designed Mexico City's cathedral)

Pascaart vande Parsiaense Kust

Map of the north coast of the Persian Gulf

Qeshm is an Iranian island situated in the Strait of Hormuz*

and the island fort is painted here as an inset

Aethiopia Superior vel Interior vulgo Abissinorum

sive Presbiteri Joannis Imperium

NE Africa by Joan Blaeu [see zoom version] after his father,

Willem Janszoon Blaeu (his sources are listed below)

"The map shows a major section of central and eastern Africa including Mozambique north to present day Sudan. The map contains numerous rivers, villages and settlements throughout, and is highly embellished with elephants, ostriches and other animals within the map, as well as the decorative cartouche. The two Ptolemaic lakes of Zaire and Zaflan are in the lower portion of the map. Lake Niger, and the supposed course of the Niger River, is shown flowing westward.

This map is based on Ortelius' map of Prester John of 1573. The myth of Prester John, the good Christian King of Africa waging his own crusade and defeating the enemies of Christianity, was based upon earlier legends of the Crusaders and is a fascinating piece of early mythological cartographic history." [source]

View of the island of St. Helena* showing the Dutch fleet.

Bay of Tanger

(Bay of Tangier*, Morocco)

Johannes Mauritius

I believe this to be John Maurice, Prince of Nassau-Siegen (d. 1679)

- appointed governor of the Dutch possessions

in Brazil in 1636 by the Dutch West India Company

[The island nation of Mauritius (below), located in the Indian

Ocean, was named after Maurice, Prince of Orange (d. 1625)]

Mauritius*

Note that the illustrated scene in the southern section of

the island shows a man being crushed during a buffalo hunt

In 2011, the Dutch firm, Hes & De Graaf, completed publication of an 8-volume facsimile edition of the 'Atlas Blaeu-Van der Hem'. The exquisite series is accompanied by a final volume:

"[It] contains contributions by Roelof van Gelder on the Atlas of Laurens van de Hem and his library, a detailed description of the life and works of the collector and the making of his Atlas; Truusje Goedings on the coloration of the Atlas; Erlend de Groot on the art historical aspects of a series of drawings from the Atlas; Peter van der Krogt on the Atlas Maior by Blaeu, which served as the point of departure for the Atlas; Benjamin Schmidt on the printed maps from the Atlas, and Dick Gaasbeek on the making of the facsimile of the Atlas, including a detailed description of the photography, the printing and the binding. Together with an introduction by Günter Schilder, this book further contains a catalogue with the numbers and titles of, and brief information on all the maps and images present in the 8 volumes of the facsimile."

All the images above were sourced (with permission) from Hes & De Graaf's dedicated website for the 'Atlas Blaeu-Van der Hem'. The full series with an optional hand-made wooden storage cabinet was on sale for around the €80,000 mark.
The Atlas of Mutual Heritage is a great, comprehensive site (if a tad idiosyncratic or, at least, unique) for maps relating to the Dutch East India Company (VOC).
Explokart Research Project The Atlas Blaeu-van der Hem by Peter van der Krogt and Erlend de Groot.
Biography of Joan Blaeu at the National Library of Scotland.
Youtube trailer for a documentary on 'Atlas Blaeu-Van der Hem'.
Map images by Willem & Joan Blaeu at Wikimedia.
Blaeu's 'Atlas Maior' : Amazon | Taschen.
A €25 brochure on the 'Atlas Blaeu-Van der Hem'.
An earlier (very different) version of 'Atlas Blaeu-Van der Hem' for >€3000.
'V.O.C: A Bibliography of Publications Relating to the Dutch East India Company: 1602-1800' by John Landwehr, 1991.
The 'Atlas Blaeu-Van der Hem' has been entered by UNESCO into the Memory of the World

The Art of Swimming

2013-01-29T12:48:00.001+11:00

Wherein naked early modernists
get wet in the name of science!

"While one reflects on those many and frequent Accidents, which thro' want of Swimming daily happen amongst us: Every one is ready to complain of the unhappiness of Man in that respect, in comparison of other Animals, to whom Nature has indulg'd that faculty, which he ought to enjoy in a more excellent degree, since it is so necessary to his Preservation.

But if we thoroughly consider the business, we shall find nothing more unreasonable than that complaint, since without doubt Man would not only Swim naturally like other Creatures, but also in more Perfection, and with more Variety, both for Pleasure and Advantage; otherwise there would not so many acquit themselves that way with such and admirable dexterity and address, as we daily see, which sufficiently demonstrates, that Man has naturally all those Dispositions which are requisite and necessary for it. [..]

This Art, which may be numbered among the Mechanick ones, since it is performed by Motion, and the Agitation of the Hands and Feet, has been hitherto exercised rather by a rude Imitation, than the Observation of any Rules or Precepts, by reason no on has taken the pains to reduce it to any; although it has always sufficiently deserved it, by the great advantages it brings to those who possess it, and in general to all Civil Societies, the consideration whereof ought to have made Men study to render it more easy to be learned, and more familiar to all men, since they may have so great occasion for it. [..]

To mention some few advantages of Swimming. In case of Shipwreck, if one is not very far from Shore, the Art of Swimming may set one safe there, and to save from being drowned. In case of being pursu'd by an Enemy, and meeting a River in ones way, you have the advantage of escaping two sorts of Death, by gaining the Shore on the other side, and so escaping from your Enemy, and from being drowned in the attempt of doing it.

But a good Swimmer may not only preserve his own Life, but several others also. An open vessel on the main sea, in a Storm may be kept from sinking by a good Diver; Or having lost her Anchors and Cables, and being ready to be cast on the Shore, may by him be haled thither, and avoid being dashed against the Rocks, and so the Lives of all in it saved; and the occasions of being thus helpful are only too frequent, as those who are used to the Seas very well know. By the same means one may attack an Enemy posted on the adverse sides of Rivers, and thereby sometimes gain a Victory. [..]

Before you go into the water, you ought to see that it be clear, that there be no scum or froth on the surface, what sort of bottom it has, that there be no weeds or mud, for one's feet may be entangled among the weeds, or one may sink into the mud, and the water coming over one's head, remain there, and be drowned.

Something yet remains to be observed before you enter into the water, in regard to stripping yourself. If you sweat when you come to the place you have chosen; or if you have sweat some time before you came, and are not quite cooled, you ought to strip by degrees, and that by walking to and fro on the shore, so that you may recover a good temperature, and by thus gradually stripping, the pores have leisure to close, and the body become in good condition, to be exposed to the air without any detriment to the health. After which you may enter into the water, and Swim according to the following precepts."

Melchisédec Thévenot in the introduction to 'L'Art de Nager' (1696), as it appeared in the 1699 translation, 'The Art of Swimming'.

Of the manner of entring into the water

"There are some who after a short Race fling themselves into the Water on their Right or Left side, as in Figure 4. Others taking several Leaps towards the Bank of the River, at last Leap in with their Feet foremost, Body upright, meeting the Water first with their Buttocks and Calves of their Legs, as in figure 5. This way is very safe and the best of all."

Of the manner of entring into the water (3)

"Those who don't know how to Swim, ought to enter by degrees, and gently into the Water; but those who are expert oftentimes leap in all at once with their Feet perpendicular to the Bottom, as is represented in the first Figure."

To Sit in the Water

"Expert Swimmers can do whatever they please in the water; they can walk there, stand still upright, or lye still or sit down. To sit, you must take both your Legs in your Hands, draw in your Breath, and so keep your Breast inflated; your Head upright, and lifting up successively your Arms and Legs by that motion sustain your self."

To tread Water

"By this way you remain upright in the water without making any motion with the hands, only you move the water round with your Legs from you, the Soals of your Feet being perpendicular to the bottom; you may make use of this if you are cast into the water bound hand and foot."

To cut the Nails of the Toes in the Water

"It is possible to perform actions in the Water, which one cannot do on Land; I my self have often brought my Great Toe to my Lips in the Water, which I could never do on Land, not on my bed. You must hold your knife in your right hand (if you are right-handed) and take up your left Leg, and lay the Foot on the right Knee; there you make take if from the left hand, and with the right cut your Nails without any danger. Thus you may also pick your Toes; and if this way has no other use or advantage, yet the dexterity of the management may serve to recommend it."

To swim with head erect towards heaven

"This way seems difficult, though it imitates the Posture they say is natural to Man, to look upwards; and if we knew how to make use of it, there would not be so many drowned as there daily are; for that happens, because, instead of looking upwards, they look downwards with their heads towards the bottom, and embrace the water, as it were with their arms, insomuch that one might say they did all they could on purpose to drown themselves.

If they would place themselves on their backs, and keep their bodies extended, they might easily escape, nay could not sink themselves in that posture if they would; this we find attested by experience; and I never yet met with any diver that could possibly descend in that posture, that is, with the head erect towards Heaven; and if they had a mind to it, they found themselves first obliged to elevate their arms upright to contract their thorax or breast; and when all this is done, find it very difficult to sink, though very slowly, and always come to the bottom with their feet first."

To Swim on the belly holding both your hands still

"This is easily performed in the manner following. You must keep your Breast advancing forward, your Neck upright on the water, both your Hands fast behind your Head, or on your Back, while in the mean time your Legs and Thighs push you forward by the same motions you make when you Swim (as at other times) on your Belly. This way of Swimming may be useful, in case any accident, as the Cramp, &c. should happen to your Arms, or if you were forced on occasion to Swim with your Hands tyed behind you, on in case you were a Prisoner, and your Life or Liberty depended on it."

To swim neither on back, nor belly

"Suppose you Swim on your Back, or Belly, lower of sink your left side, and at the same time elevate your right one. In Swimming, when you are thus laid, move your left hand as often as you see convenient, without either separating it far from your Body, or sinking it, perpetually striking it out and retracting it, as in a right line on the surface of the water. Besides the pleasure of swimming thus, you may also find an advantage by viewing as you please either side of a River, and that one side may rest while the other is employ'd."

To Swim holding up the Hands

"While you Swim on your Back it is easie to put your hands to what use you please, but it is difficult to hold them upright, and Swim at the same time too. It would appear at first sight as if this were the most easy method we have yet taught. You must take care lest while you lift up your arms, the thorax or breast be not contracted, for so you sink. The whole art of this way of Swimming consists in heaving up the breast as high, and keeping it inflated as much as possible, while your arms are held up."

In swimming under water to make a circle

"When Swimmers go to search for any thing in the water, they Swim round about the place where the thing was cast in, if they do not find it immediately; by this sort of address they can take up any the least thing that is at the bottom.

The manner of making this compass or circle is thus: if you would begin in the Circle from the right hand, and end it at the left, you must grasp or embrace the water with both your hands from the right to the left, and exactly contrary if you would turn the other way; but when you have Dived perpendicularly down, and can't find what you went to seek, you will be obliged to take such a compass, but don't go so far as to lose the light; for when once that begins to fail you, it is a sign that you are either too deep, or under a Boat, or Shore, or something else that intercepts the light.

You must always take heed of venturing into such places; and if you should find yourself so engaged, call to mind whereabouts, or which way you came thither, and turn back the same way, looking upwards for the light: for you may see it a great way off: above all, take heed you don't go to breathe under water: In case you are afraid of any Enemy that should lay wait for you when you come up again, you must have recourse to the Agility of the Dolphin."

Suspension by the chin

"You cannot easily imagine how this manner of Swimming is performed, it is indeed very surprising. By this means you may stand upright in the water though never so deep, without fear of sinking.

To make you comprehend it, you are to remember that when you Swim on your back, you lye still, your Legs being extended: When you find yourself in that posture, you must let your legs go down, or sink; and when they come to be perpendicular to the bottom, you must take them up again, bending your knees, inflating your Breast, and as to the Arms and Hands whereof the back-parts lye flat on the water by the shoulders, you must sometimes extend them on the one side, sometimes on the other, sometimes shut them, turning the Palms towards the bottom, the fingers close to one another, holding your Chin upright as possible.

This way which seems so surprising, is sometimes very useful; suppose at any time, the Ice should happen to break under your Feet, this way will be of vast advantage to secure yourself from the danger. It may also be very advantageous in case a man is obliged to save himself from some enemy pursuing, by leaping into the water in a dark night; for in that case, one may wait, without making any noise, till he is passed by, then go again on shore."

To Boot ones self in the Water

"I call this way by the name of Booting or drawing on ones Boots, because the action very much resembles a Man doing so. You must first lift up one leg out of the water, and afterwards the other, and take the foot in your hands as those do who are drawing on their boots, and presently after let it go again, exending it out at length. The management of this way consists in keeping up your breast as high as you can, and as much inflated as possible, and also the one leg up out of the water while the other is continually playing downwards. This way may be very commodious for cleaning your Feet from mud."

The Perpendicular Descent

"This is proper for those who leap off from any height into the water, as from a Bridge or Ship: This is performed by taking a little leap forwards, and sometimes upwards, that your descent may be more perpendicular, or swifter to the bottom, and also that your head may go perpendicularly downwards. This way is very Commodious, when you have a very deep water, and it cannot be performed after any more ready method, because of the difficulty of holding ones breath."

To come to the top of the water again, after having dived

"After you are at bottom, you may return with the same facility; which is performed much after the same way as we have taught before, to turn ones self in the water; the person who swims with one of his hands extended, must push from him the water before him with the palm, and with the cavity of the other palm drawing the water that is behind him, towards him; when your hand is extended as far as it can be, the fingers of the hand so extended, and the palm of that turned outwards, ought to shut or clench: the perfection of this way you'll see [..]."

To Dive

"If Men sink to the bottom of the water, it is their own fault, nature has laid no necessity on 'em doing so; nay there is not only occasion for force and strength to come thither, but also Art to do is safely, speedily and handsomely, but those that are expert at Swimming do it, on occasion, as swift as an Arrow, and descend perpendicularly or obliquely as they please."

To shew out of the Water, four parts of the Body

"This manner shews at once four parts of the Body, viz. the Head, the two Elbows, and one Knee... Besides the management of this method, and the difficulty of doing it well, it is serviceable to rest your self by putting on Thigh across the other, and to take breath where the water is so deep that you cannot reach the bottom."

'The Art of Swimming. Illustrated by proper figures. With advice for bathing. By Monsìeur Thevenot. Done out of French. To which is prefixed a prefatory discourse concerning artificial swimming, or keeping ones self above water by several small portable engines, in cases of danger'

On 'the history of swimming', in literature:

"Although Nicolaus Wynman wrote the first book on swimming, 'Colymbetes, Sive de Arte Natandi et Festivus et Iucundus Lectu' (Swabia, 1538), an earlier book, 'The Boke Named the Governour' by Sir Thomas Elyot (London, 1531), briefly discussed swimming as an important part of the education of gentlemen.

But it was Wynman's book, 'Colymbetes', that first instructed Europeans that the human stroke was the stroke 'which all must learn as the scientific stroke'. 'Colymbetes' is a little book in crabbed Latin, full of abbreviations and mistakes or misprints. Wynman, a German professor at Ingolstadt University, mentioned that the cogent reason for not learning to swim had been the mistaken belief that the souls who are confined to hell have to cross the river Styx by swimming. If they cannot swim, how would they cross?

Within the next 50 years, two more books of note followed. 'Historia de Gentibus Septentrionalibus Romae' (History of the Northern People) by Olaus Magnus was published in Rome in 1555 and discussed swimming among other leading customs of northern people. The other book was 'De Arte Natandi' (The Art of Swimming) by Sir Everard Digby, published in England in 1587 but written in Latin because it was considered vulgar in certain quarters to write in English. Both books advocated breaststroke in preference to the more primitive forms of swimming that existed at the time.

Had Digby written in his own language, as Elyot did, his book would have sold better and also been too well known to have been so readily plagiarized or translated without permission. As it was, Digby's work was translated three times: twice into English and once into French. The French edition was translated into German, Spanish and Italian. An abbreviated translation of Digby's work was published in 1595 by Middleton. Another, published in 1658, professing to be the original, was an almost literal translation by Percey, who claimed it to be his own work.

Next, Melchisédec Thévenot translated Digby's original Latin work, 'De Arte Natandi', into French, and it was published in Paris under the title 'L'Art de Nager' in 1696, four years after Thévenot's death. In 1699, 'The Art of Swimming', translated back into English from 'L'Art de Nager', was published in London, the translator never suspecting that Thévenot was not the original author because Thévenot was always given credit for it. Even that great scholar, Benjamin Franklin, who got to the root of most things he touched, quotes Thévenot without the slightest suspicion that the original author was English.

Thévenot described swimming 'as an old sport which hitherto had not received the invesigation necessary to improve in efficiency'. During Thévenot's time, breaststroke was still considered the scientific stroke in Europe. Thévenot's book was regarded as the authoritative work on 'scientific swimming', as it was called then, and was reprinted in 1764 and 1772.

In recognition of Thévenot's perceived preeminence among swimming authors during a century when swimming was considered a health hazard, Thévenot was inducted into the International Swimming Hall of Fame in 1990, nearly 300 years after his translation of Digby's work had been published. Although Thévenot was a recognized scholar in many fields, a stronger case can be made for Digby's inclusion in the International Swimming Hall of Fame. [..]

The more recent evolution of swimming in Western culture is ably recorded by several outstanding authorities, and especially so in the classic descriptions by Steedman (1867), Wilson (1883), Sinclair and Henry (1903) and Carlile (1963)."

Quote (very slightly abbreviated) from 'Breakthrough Swimming' by Cecil Colwin, 2002 {Amazon | Google} - note that this historical section seems to be a scanned inclusion and may, or may not, be by Colwin himself.

Maggs Bros. has a copy of 'The Art of Swimming' for £2600:

"Although this work is translated from Thevenot's 'L'Art de Nager' work the text is derived one of the earliest books to appear on the subject, Everard Digby's 'De Arte Natandi' (London, 1578) "whereof I have here made some use" as Thevenot admits in the preface. Digby's text was "gathered" or adapted into English by Christopher Middleton as 'A Shorte Introduction for to Learne to Swim' (London, 1595). William Percey's 'The Compleat Swimmer' (London, 1658) is also adapted from Digby's text, although without acknowledgement.The charming plates are careful reversed copies from the first edition of Thevenot's version (Paris, 1696) which were derived in turn from the woodcuts in Digby's 1578 text and illustrate how to enter the water, dive, perform a number of strokes or maneouvres such as "the Leap of the Goat" and "the Agility of the Dolphin", float and even how to cut one's toenails while floating. Thevenot was the first to describe the breaststroke which was to become the most common stroke for centuries."

All the images above are screenshots and those with black borders were spliced together from a few screenshots. Some staining has been removed or reduced in the background. The images come from *Capital Collections - The Image Library of Edinburgh City Libraries and Museums and Galleries* - I am grateful to the Edinburgh Libraries Twitter account @TalesofOneCity for inadvertently pointing out this site. [Capital Collections homepage]
The Wellcome Library hosts more than 40 modest-sized woodcut illustrations from 'De Arte Natandi' (1587) by Everard Dibgy. (the book translated by Thévenot from which the illustrations above were derived)
Wikipedia biography: "Melchisédech Thévenot (1620-1692) was a French author, scientist, traveler, cartographer, orientalist, inventor, and diplomat. He was the inventor of the spirit level and is also famous for his popular 1696 book The Art of Swimming, one of the first books on the subject.."
De Anza College History of Swimming section.
The History of Swimming [W]
One suggestion that appears in some of the online commentary about Thévenot is that he was a well renowned scholar and the fact that his French translation of Digby's work appeared 4 years after his death (and the English edition 3 years after that) suggests that Thévenot himself was probably not responsible for the active plagiarism of Digby's work. Thévenot quite likely did the translation for his own betterment or as an academic exercise, as it were, and other, less than scrupulous people, exploited this later on.
Googlebooks has a scan of the 3rd Ed. of 'The Art of Swimming' - the text quotes above come from here (I somehow have a pdf copy of this version which was supplied to the Google maw by the John Johnson Collection | Bodleian Libraries at Oxford University). And my apologies to anyone aggrieved by the non-appearance of the long-ſ; it was omitted by accident from copy/pasting an initial ſ-less section, and then it was a matter of staying consistent.

The Astrolabe Molluscs

2013-01-24T01:59:00.002+11:00

Hand-coloured illustrations of invertebrate marine animals from the phylum Mollusca, collected during a French expeditionary voyage in the 1820s.

"The phylum Mollusca contains some of the most familiar invertebrates, including snails, slugs, clams, mussels, and octopuses."^

The images below have been cropped back to the copper-plate engraving margins and the backgrounds have been extensively cleaned of spots and stains. A few images have been colour boosted. The sampling below constitutes maybe one fifth of the total number of illustrated atlas plates.

Sèche vermiculée*
Séche mamelonneé*
*Cap de bonne-espérance

Sépioteuthe austral
Sépioteuthe de maurice

Sepioteuthe de dorei
Sepioteuthe lunulé

Sèche deux lignes
Sèche à longs bras

Calmar de Vanikoro
Sèche australe (Banc des Anguilles)
Sépiole linéolée (Nouv-Hollande)
Onychoteuthe armé (Célèbes)

Poulpe lunulé
Poulpe cordiforme
Poulpe de Western
Poulpe membraneux

Hélice alfour
Hélice mammillaire
Hélice granulée
Hélice papoua

Doris Tuberculeuse
Doris Tachetée. Cuv.
Doris à bords noirs. Cuv.
Doris Limacine
Doris Carénée

Aplysie de Hasselt, Variété. (Ile de France)
Aplysie de rumph, variéte. (Tonga-Tabou)
Aplysie de Tonga. (Tonga-Tabou)

Buccin, Lime
Buccin, Raifort
Struthiolaire, Crénulée
Éburne, canaliculée
Buccin, Lisse
Buccin, Agathe

Tonne perdrix
Son anatomie
Tonne pelure d'oigno
Tonne cassidiforme
Son anatomie

Porcelaine tigre. (Tonga-Tabou)
Porcelaine anguleuse. (Tonga-Tabou)
Porcelaine oviforme. (Nouv-Guinée)
Porcelaine à verrues. (Tonga-Tabou)
Porcelaine arlequine. (Tonga-Tabou)
Porcelaine rongée. (Tonga-Tabou)
Porcelaine téte-de-serpent. (Ile-de-France)

Animal de porcelaine tigre (femelle)
Anatomie de la mème (mâle)
Aneillaire à sillons blancee (femelle)
Aneillaire australe (mâle)
Strombe lambis (femelle)
Agathine mauritienne

Strombe aile-deopapillion, femelle
Strombe grenouille, mâle
Strombe lambis, mâle
Variété Strombe lambis
Strombe bossu

Phasianelle, Bulimoïde
Phasianelle, Ventrue
Turbo Marbré

Oscabrion de Maurice
Oscabrion à côtes étroites
Oscabrion Zélandais
Oscabrion de Garnot. (Brainu)
Oscabrion violet
Oscabrion violet. variété
Oscabrion fascié
Oscabrion montieculaire
le méme variété
Oscabrion oculé

Oscabrion aiguillonne
Oscabrion variété
Oscabrion glauque
Oscabrion birameux
Oscabrion peau de serpent
Oscabrion vert
Oscabrion lamelleux
Oscabrion marron
Oscabrion tulipe

Tridacne faitiére
Tridacne safranée
La méme vue par dessous
Tridacne gigantésque

Ascidie marron d'inde
Ascidie australe
son anatomie
Ascidie épineuse
Polycline cylindrique
Botrylle en grappe
Distome violet
Distome élégant
Eucéle rose
Aplide cérébriforme
Aplide pédonculé

[Zoophytes]
Holothurie ananas
Détails anatomiques
Son poisson parasite. (du genre Fierasfer.)
Holothurie flammée

[Zoophytes]
Holothurie épineuse N. avec son anatomie
Holothurie orangée
Fistulaire piquetée
Fistulaire de Dorey

[Zoophytes]
Actinie, Magnifique
Actinie, Azur
Actinie. Verdâtre
Actinie à Globules

[Zoophytes]
Actinie, Alcyonoïde
Actinie, Arborescente
Actinie, Rouge et blanche
Actinie, Clou

[Zoophytes]
Fongie Actinie. (Nouvelle-Irlande)
Fongie à gros tubrcules. (Vanikoro)
Tubinolie rouge. (Nouv-Zélande)

[Zoophytes]
Lobophyllie anguleuse var. (N.-Irlande)
Caryophyllie fasciculée. (Vanikoro)
Lobophyllie orangée. (Nouv.-Hollande)
Dendrophyllie rougeâtre. (Nouv.-Zélande)

[Zoophytes]
Alcyon fléxible
Alcyon tuberculeux
Alcyon jaune
Alcyon rameux

[Vers apodes -- ? = legless]
Borlasie à cinq lignes
Borlasie striée
Borlasie à bandelette | sa variété
Borlasie verte
Borlasie tricuspide
Borlasie de la Nouv.-Zélande
Borlasie à quatre points

Firstly, to quote myself:

"Jules Sébastien César Dumont d'Urville (1790-1842) had already established a name for himself when, as part of a French naval expedition to Greece in 1820, he recognized the true value of a recently unearthed statue. His advocacy resulted in the Louvre purchasing the Venus de Milo.

As a lieutenant aboard the Coquille under Louis Duperrey, d'Urville first sailed around the world in 1822 and he surveyed the Falklands, Tahiti, New Zealand, New Holland and other Pacific islands. After a promotion he commanded L'Astrolabe when it sailed in 1826 on a 3 year voyage whose original mission was to investigate the fate of the La Pérouse expedition (the original Astrolabe was among the lost ships).

[Wiki]: "The new Astrolabe skirted the coast of southern Australia, carried out new relief maps of the South Island of New Zealand, reached the archipelagos of Tonga and Fiji, executed the first relief maps of the Loyalty Islands (part of French New Caledonia) and explored the coasts of New Guinea. [d'Urville] identified the site of La Pérouse’s shipwreck in Vanikoro (one of the Santa Cruz Islands, part of the archipelago of the Solomon Islands) and collected numerous remains of his boats. The voyage continued with the mapping of part of the Caroline Islands and the Moluccas. The Astrolabe returned to Marseille on 25 March, 1829, with an impressive load of hydrographical papers and collections of zoological, botanical and mineralogical reports, which were destined to strongly influence the scientific analysis of those regions. Following this expedition, he invented the terms Malaisia, Micronesia and Melanesia, distinguishing these Pacific cultures and island groups from Polynesia."

Te Ara: "On the completion of this voyage Dumont d'Urville expressed some regret that the efforts of his officers and men were not sufficiently recognised. However, on 8 August 1829 Charles X signed an act promoting Dumont d'Urville to the rank of post captain and on 17 August l'Académie Royale des Sciences de l'Institut received with warm approval his official report of the expedition. Dumont d'Urville was commanded by the King to publish an account of the voyage of the Astrolabe; comprising twelve volumes and five albums, it was completed by May 1835."

One of the atlases from: 'Voyage de Découvertes de l'Astrolab Exécuté par Ordre du Roi, Pendant les Années 1826-1827-1828-1829, Sous le Commandement de M. J. Dumont d'Urville, Capitaine de Vaisseau' {1833} by MJD d'Urville & Achille Richard was uploaded by the Botanicus Digital Library in 2012. (I don't usually revisit works I've posted about previously, but my original post on L'Astrolabe is 7 years old and this atlas upload is a singularly beautiful copy, available in a variety of formats in high resolution, and beyond anything else I've seen online from the d'Urville series in terms of quality.)
Jules Sébastien César Dumont d'Urville biographies: Dictionary of NZ Biography (via Te Ara) by Margaret JA Simpson AND 1966 bio from NZ Encyclopedia (via Te Ara) – The Encyclopedia of New Zealand. [Te Ara homepage]
Biography from South-Pole.
Museum of Western Australia exhibition site: Journeys of Enlightenment.
Legacy site (incl. background and plates) from the Marine Biological Laboratory (Massachusetts).
All (or nearly all?) of the plates from the Voyage of L'Astrolabe series (and most likely other books by/on d'Urville) can be seen via NYPL - I copied all the image captions above from here.
Other plates : Linda Hall Library | U Edinburgh.
The Wikipedia article on Mollusca is a pretty good introduction and jump off point.
Just by the by, I'm reminded that there aren't a lot of easily findable historical voyage maps (of reasonable quality) on the internet as far as I'm aware. Pity, that.
Previously: The Voyage of La Perouse.
Elsewhere: Twitter | Delicious | Pinboard.

Currus Triumphales

2013-01-17T09:08:00.004+11:00

Engraved prints of the triumphal entrance

into Venice by the Crown Prince of Russia

[Currus Triumphales = Triumphal Chariot]

'Currus triumphales ad adventum clarissimorum Moschoviae principum Pauli Petrovitz et Mariae Theodorownae conjugis regali ornandum spectaculo in Divi Marci venetiarum foro die 24. Januarii anno MDCCLXXXII..' (pub. 1782) by Giorgio and Domenico Fossati is available online through Yale University's Beinecke Rare Book and Manuscript Library.

This very small album (an Italian Festival Book - all the engravings are shown above) commemorates the 1782 entrance into Venice by Crown Prince Paul Petrovich (son of Catherine the Great) and his 2nd wife, Sophia Dorothea of Württemberg (called Maria Feodorovna after the marriage). [W]

I am grateful to arch nemesis, Will 50Watts Schofield, for alerting me to, or reminding me about, the wonderful new(?) digital site and viewing architecture available via Beinecke Library. He found his own level of book to display from there yesterday. But seriously, do yourself a favour and go for a wander around Beinecke's digital collections.

Previously: Festival

Scotia Depicta

2013-01-14T08:48:00.000+11:00

Etchings of towns, castles and scenery

from Scotland in the early 19th century

Eglinton Castle

"Although this part of the country cannot boast of the rude magnificence and picturesque grandeur of the Highlands, yet its milder features and more polished beauties are highly deserving of attention; and the noble owners of Eglinton Castle and its domain have succeeded in adding to the beauties of this spot, and to the comfort of its inhabitants. This Castle is in the parish of Kilwinning,in the county of Ayr, and was built by the present earl.

The remains of the old castle, which General Monk formerly garrisoned for sometime, were destroyed, when this was erected. The architect, Mr.Patterson, has happily succeeded in the "adaptation of Gothic outline to the details of modern accommodation, "a style not unfrequent in North Britain: and while the external part carries the mind of the spectator to those ancient times, when strength and security were the objects in country residences, the comforts and elegance of the internal structure are suited to the most civilized and polished age."

Part of Perth from the North

"No spot in Scotland claims more attention from the antiquary, the historian, and the admirer of fine scenery, than Perth. In former times it was the seat of supreme courts, the residence of many powerful feudal lords, and the seat of various religious establishments. Numerous vestiges of these antiquities strike the eye in every part: amongst the rest must be particularly noticed the palace of Gowrie, so celebrated for the tragical, yet mysterious, attempt against the life of James VI. This palace, the back of which is seen in the present Plate, remains entire, and is now converted into barracks for a company of artillery. [..]

Numerous vestiges of these antiquities strike the eye in every part: amongst the rest must be particularly noticed the palace of Gowrie, so celebrated for the tragical, yet mysterious, attempt against the life of James VI. This palace, the back of which is seen in the present Plate, remains entire, and is now converted into barracks for a company of artillery. [..]

The consequences of this extensive commerce are an increased population from fourteen to twenty thousand, an opulence, which shews itself at the hospitable boards of the inhabitants, in the erection of handsome buildings, and the decoration and high cultivation of the surrounding country. Among the rest is the handsome residence, as seen in the Plate, called Bellwood, the seat of Mr. Young, whose enterprising spirit and well-directed industry have procured a large fortune for himself, and an improved trade for the town at large."

Ayr

"The county of Ayr lies in the south-western part of Scotland, and is bounded on the west by the Irish Channel. The present Plate exhibits a view of its chief town, which bears the same name. This place is of no very considerable extent, but it is pleasantly situated quite on the coast, and has the advantage also of being watered by two rivers, which discharge themselves at or near this place into the Irish Channel. One, called the Ayr, whence probably both the county and this town took their names, runs immediately through the town, and is seen in this view; the other, the Doon, runs nearly parallel, but a little more to the south, and at a short distance from the town.

On entering this place the most striking objects are the new and the auld bridges, which Burns has personified with so much successful humour. The former is handsome and convenient, and was built from a plan of Adams's, while the auld brig, if we may believe the poet, is so narrow and bad, that 'twa wheel-barrows tremble, when they meet'. These bridges connect the old Borough with the New Town. The population of Ayr is not very large, the whole parish, which is of more extent than the town, contains only between four and five thousand, and the town itself rather more than three thousand inhabitants. The church is rather a handsome structure. It was built in the year 1654, and is kept in repair at the expense of the magistrates. The markets are well supplied, and not unreasonable; and coals, which are found in the neighbourhood, and consequently rather cheap, are of great comfort, especially to the poorer class. The country round Ayr is flat, but is much improved from the plantations and seats in the neighbourhood. The soil also is rich and productive. This view was taken in 1801."

Cullean Castle

"Few buildings can lay claim to a situation so bold and picturesque, and yet so beautiful, as Cullean Castle. It stands on a rock, that projects into the sea, while its sides, almost perpendicular, rise about one hundred feet from the surface of the water. It is perhaps the most striking situation in the county of Ayr. This Castle was built so late as the year 1777, after the design of Mr. Robert Adams, and is well executed. Its outline is happily varied by the roundness of some parts, and the angular projections of others; and it is upon the whole a fine specimen of modern gothic.

The view from the principal apartments towards the sea is extremely grand. It embraces the whole of the firth of Clyde, and the bold and mountainous isle of Arran; while towards the left is seen an opening into the Atlantic between the mull of Kintyre and the distant coast of Ireland. This surface of water is also still further diversified by the singular rock, called Ailsa Craig, which rises almost perpendicularly above nine hundred feet; between which and the walls of the Castle most vessels, that navigate the Clyde, pass."

Cromarty

"The county, which bears the same name, and of which this is the principal town, is in the northern part of Scotland, and on the east coast. The whole county is almost surrounded by the Moray Firth, and that of Cromarty. Where it joins the land, it is bordered by the county of Ross. The Firth of Cromarty is both picturesque and singular: the entrance to it, which can only be seen to advantage by going out some way in a boat, seems formed by a sudden opening between two rocky promontories, about a mile asunder, called the Sutors of Cromarty. [..]

The town of Cromarty, with its harbour, is situated on the south side, and consists for the most part of new built houses, but is not very extensive, while numerous houses are scattered all round the bay. [..] This view was taken from the side of the bay near the pier, which is seen in the foreground, in 1799."

Wallace Nook, Aberdeen

"This Metropolis, including the Old and New Town, of the northern division of Scotland, is situated between the influx of the Don and the Dee into the German Ocean. There are two parishes; Old Machar, now also called Old Aberdeen, or the Old Town Parish, and St. Nicholas, or New Aberdeen. The first is the most extensive, though the New Town is much the larger. The different buildings, which are scattered, either for trade or residence, over both the parishes, and the fine inequalities of the surface, render the views highly interesting and beautiful, especially towards the west, where the horizon is terminated by the Grampian Hills. [..]

For what reason the particular spot in the New Town, whence this view is taken, is called Wallace Nook is now unknown. No record at present exists, and it must depend simply on traditional supposition. [..] This view, however, is extremely picturesque, and not unlike some of the towns in Italy, to which the style and masses of building in the north are often very similar. The church of St. Nicholas appears in the centre, and, with the other parts, forms a most interesting picture."

Lauriston Castle

"The old Castle is said to have been built in the eleventh century. The two towers, and part of its immensely thick walls, still remain, and are incorporated with some modern improvements the present proprietor, who has thrown a fine bridge of one arch over the den, and connected the castle with some of the finest grounds and most picturesque part of the den. This spot gave birth to that celebrated character, John Law, Comptroller General of Finances in the court of France, whose various plans and speculations are so admirably detailed by Adam Smith in his Wealth of Nations. The family of the Strattons, who possessed this estate several centuries, were Lairds of Lauriston, and so attached to this place, that whenever they settled in other parts of Scotland, they changed the name of the place to that of Lauriston. This view was taken in 1799."

Taymouth

"No country is more diversified, adorned, and benefited, by the different lochs, that are scattered over its surface, than Scotland; in almost every part of which they produce great variety of scenery, form a beautiful and picturesque series of views, and afford a plentiful and cheap article of food. Loch Tay, situated in the midst of the fertile and rich county of Perth, and which forms the centre of the present plate, is deficient in none of these. [..]

The bridge, which is seen on the foreground to the left, was built by Lord Breadalbane over a brook, which will amply repay the picturesque traveller for the trouble of tracing it to its source, by a variety of beautiful scenery. The road over it is a public one, although it passes through his Lordship's park, and either by that, or the one on the opposite side of the loch, is a most delightful ride to Killin, skirting the water almost the whole way. To the right in this View, which was taken in September 1800, is seen the bridge, inn, and church of Kenmore; and beyond the last is part of the little wooded island."

Gordon Castle

"The parish of Bellie, in the county of Bamff, in which Gordon Castle is situated, extends near six miles from the north to the south, and about four from east to west. It is bounded on the north by the Murray Firth, and on the west by the Spey River. The banks of this river, or rather of the vale, in which the river runs, are of great height, and of various extent in width; and include a rich and beautiful surface of ground. On the south of this fine level stands the magnificent building, Gordon Castle, the pride of Scotland, with a front extending five hundred and fifty eight feet. Of this view the etching, here given, is superior to, and renders useless, all description. It is one of the noblest palaces in North Britain, and is almost the entire work of the present Duke, if we except the tower in the centre. [..]

In forming the present park and landscape about the Castle, vast sums have been expended in draining the ground, as it was formerly an entire bog, except the site of the castle itself; and the ferry-boat over the Spey is still called the Boat of the Bog. The old castle, of which there is a curious plate in Pennant**, was a fine ancient building. The tower is the only part that appears in the front of this etching, which was taken in October 1799."

**Thomas Pennant [BBC bio]: 'A Tour in Scotland' 1769+, Web Archive || Amazon.

Dunfermline Abby and Mill

"The town of Dunfermline, in, or rather close to, which the ruins of this Abbey remain, is in the county of Fife, and at a short distance from Edinburgh. It became, at a very early period, a residence for the Scottish monarchs, and Malcolm III, surnamed Canmore, resided in a tower, or castle, built on a peninsulated hill in the glen. A palace was afterwards erected a little to the south-east of the town, in a situation truly romantic. The walls of this are still standing, and tradition continues to point out the chimney of the apartment, where the unfortunate Charles I. was born. [..]

This view, which was made in 1799, is taken from a field on the Pittencrief side, and with the ruins, partly obscured by the smoke, arising from the drying-house of the mill in front, with the water running from the wheel, forms a most pleasing scene. Almost every corn-mill in Scotland has a kiln or drying-house, attached to it, where the corn is constantly dried, previous to its being ground."

Brechin Castle

"The town, or city, of Brechin, as the name denotes, is built on a hill; Brunichaun, in the Gaelic language, meaning the top of a declivity. Perhaps, however, it is derived from Breaichuain, a view of the firth, as from the east you have a fine view of the bay of Montrose, which bounds the county of Angus on that side, at the distance of about eight miles. It is of very considerable antiquity, and was formerly a bishop's see, possessing a cathedral, and also a convent. [..]

Nothing can be more picturesque than the view of this castle, as given in this plate; the drawing of which was taken in September 1800. The Usk running along the foreground, with its opposite rocky bank, partially naked, and partially covered with trees and brush-wood, and the whole crowned with the castellated building, forms a scene at once beautiful and grand.

Of the ancient castle of Brechin no vestige remains. In 1303 it underwent a long siege, and was gallantly defended, though attacked by a powerful army under Edward the First: and notwithstanding all the efforts of that potent prince, the brave governor, Sir Thomas Maule, held out for twenty days; at the end of which time he was slain by a stone, thrown from an engine, on the 20th of August, when the place instantly surrendered."

Gannachie Bridge

"Over the river Northesk, which runs through the county of Kincardine, and in the parish of Fettercairn, is thrown this singular arch {1732}. This river runs through the grounds of Lord Adam Gordon, who has built an elegant modern house on his estate in this parish; and has formed, with peculiar taste, a most beautiful and romantic walk along its rocky banks. This bridge, which consists of one arch, is fifty-two feet over, stands on two tremendous rocks, and is justly admired as a singular curiosity, both in regard to its situation and construction. Beneath the bridge is a vast abyss, near fifty feet in depth, through which the river sometimes rushes with overwhelming violence. Its rocky channel, with its lofty and precipitous sides, fringed with wood, forms a series of picturesque and beautiful scenery both above and below the bridge."

Elcho Castle

"We have again to notice another specimen of Gothic architecture in the fertile and beautiful county of Perth, the garden of Scotland. [..]

Throughout Scotland every mill is accompanied with a drying-house, for the purpose of drying and hardening the corn, in order that it may grind the better into meal. The smoke, which almost constantly issues from this kind of kiln, being carried by the wind over different parts of the buildings or scenery, tends very much to increase the picturesque effect of views, where these mills are found.

On the opposite side of the Castle the scenery is very beautiful. The views are along the north side of the Tay, over a tract of land called the 'Carse of Gowry', and so very fertile as to be esteemed the granary of Scotland. This drawing was made in the year 1800."

Edinburgh

"Within the limits, to which we are confined, it is impossible to give any thing like a minute description of the city of Edinburgh, the ' Queen of the North.' [..]

This View, which was taken in July 1799, from the Calton Hill, comprises the North Bridge, through the arches of which is seen the slaughter-house; the ruins of an old Abbey below, in the foreground, with the crown-like tower of St. Giles farther distant to the left; the castle towards the centre, and the West Church in the distant horizon."

St Bernards Well

"The beautiful little Temple, erected on the spot, known by the name of Saint Bernard's Well, owes its existence to that benevolent Nobleman, the late Lord Gardenstone. This building, which is from a design of Mr. Nasmyth, is not unsimilar to the Sibyls Temple at Tivoli, and which the artist probably had in his recollection, when he formed this plan. It is circular and open, with a dome supported by pillars of the Doric order. The Temple is dedicated to the goddess of Health, but the statue of Hygeia, which stands in the centre, is infinitely too large for the building. [..]

The water of this Well issues from a rock close to Leith water, into which it runs a little above Stockbridge. It is of a sulphurous quality, and slightly impregnated with iron. It has been found of use in many disorders, and being situated amidst some very beautiful scenery, and at a very short distance from Edinburgh, was at one time visited by almost all its inhabitants; but like most things of the same nature, fashion and whim have, at different periods, exalted it above and sunk it below its true value. The scenery about it is most beautiful, though the prospect is confined. The river winds round a rocky point, or dashes over a stony bottom, while the walk, following its course with artless irregularity, presents to the view sometimes bare cliffs, and at others rich woody slopes. This view was made in 1799."

Cavern in Glen Crae

"The country in the vicinity of this Cavern {in Argyleshire}, is perhaps as tremendously grand as any part of Scotland. [..]

From the appearance of the stream, few people are induced to quit the road to examine it: yet it affords a remarkable instance of such romantic scenery, as sometimes occurs unexpectedly, in Scotland, among objects, which do not seem to promise it. The rocks, lying in its course, consist of fragments, fantastic in form, and vast in magnitude, torn from the sides of the adjoining mountains, and piled confusedly together. Upon a near approach you find, that the water, forcing its way amongst them, has increased their picturesqueness by its powerful operation. In one part it rushes violently along, tumbling over them in cascades; in another it is only heard to growl in an inaccessible dungeon below; and in several places it has formed the most extraordinary caverns and excavations.

One of these (the subject of the present plate) might have passed for the grotto of a Naiad, designed with peculiar fancy. At one end the sun-beams, admitted through different openings, played upon the water; at the other a small cascade glittered in the gloom: the sides were wrought into various odd forms by the whirlpools; and in one part a natural chair was scooped out of the rock. This view was made in 1799."

Leslie House

"Leslie House, which is in the parish of the same name in Fifeshire, was originally a most magnificent seat, built by the Duke of Rothes, round a court similar to the abbey of Holyroodhouse, with a gallery of rather greater extent, and ornamented on one side with a collection of the portraits of the Rothes family, and on the other with those of the particular friends and contemporaries of the founder. [..]

The scenery upon the banks of the Leven, which is seen in the foreground, is very beautiful: and from the point of view, where this drawing was made, the laundry on the opposite bank forms a very picturesque object. The grounds are well wooded, and the approach to the house is ornamented with a fine avenue of elms. This view was made in 1799."

The Port of Inverary

"This town is the capital of the county of Argyle, which gives the title of Duke to the Campbell family. The old town is now nearly deserted, and the inhabitants have removed to the new one, built mostly at the expense of the Duke of Argyle, whose castle stands at a short distance from the town. [..]

The environs of the town are beautiful in the extreme; and the top of Dun-y-coich, which is seen with its solitary tower to the left of the distance, from the insulated site of the hill, though not more than seven hundred and fifty feet high, embraces a most extensive view of Loch Fyne and the surrounding mountainous country. This drawing was made 1799."

The Needles Eye of Troup

"No part of the northern coast of Scotland, full as it is of romantic and wild scenery, affords bolder, or more picturesque, views than the parish of Gamrie, in which this Cavern is situated. It is in the county of Bamff, the northern limits of which are circumscribed by that part of the sea, called the Murray Firth. This parish extends above nine miles along the coast, which consists of an unbroken chain of stupendous rocks, in many places near two hundred yards above the sea, and almost perpendicular. Among a variety of other Caverns, with which this shore abounds, is the remarkable one, chosen for the subject of the present Plate. [..]

Nothing of a similar nature can be upon a grander scale; and the effect, as it strikes a person, who has come through from the southern entrance, when from the narrow passage he suddenly bursts upon this expanded cavern with the light breaking upon the opposite rocks, and the sea in front, is truly wonderful. This view is taken from the inside of the cavern near the entrance, and shews the rocks leading towards Gamrie Head, with a part of the Murray Firth towards the west. The cavern, as well as the adjoining coast and land, is on the Gardener estate. This view was taken in 1799."

'Scotia Depicta; or, the Antiquities, Castles, Public Buildings, Noblemen and Gentlemen's Seats, Cities, Towns, and Picturesque Scenery of Scotland' (1804), contains 48 prints, etched by James Fittler after sketches by John Claude Nattes, and is newly online in its entirety, in a couple of formats, courtesy of the National Library of Scotland. [Thumbnail page images]

The images above were all cropped out of custom pdf files I downloaded simply to make it easier for myself. They appear to be acetate scans or similar; I think they provide a very adequate overview. But it's nevertheless worth your while visiting the source document online because the NLS has actual photographs of the album pages within a tiled zoom frame. The quotes above come from the page transcripts, also kindly provided by NLS.

The alert that this book had been recently digitised came from what is my current favourite email subscription: the monthly newsletter from the National Library of Scotland. It's short, sweet and always contains something of interest.

The British Museum has a set of these etchings online too. Search on 'Scotia Depicta' from this page --> the images aren't as good quality as those at the NLS, but if you mouseover the names of the artists you'll get short biographies.

'Scotia Depicta' for nearly $5000 - not sure if the listing is current or old.

Scotland at Googlemaps.

World War One Posters

2013-01-07T02:56:00.002+11:00

Printed flyers agitating in support of the war effort

What Have You Given? c. 1917

What Have You Given? (Our War Chest)
Artist: Gaar Williams

Keep These OFF the USA, c. 1917

Keep These OFF the USA. Buy More Liberty Bonds
Artist: John Norton
Publisher: Strobridge Litho. Co. Cincinnati & New York

Keep Him Free, c. 1918

Keep Him Free Charles Livingston Bull - Buy W.S.S. War Savings Stamps Issued By The United States Government
Artist: Charles Livingston Bull
Publisher: JL Ketterlinus, Philadelphia (for United States Treasury Department)

For Humanity's Sake, c. 1917

For Humanity's Sake - Save A Life Red Cross Week June 18th To 25th
Publisher: Harris Printing & Eng. Co.

Fête Fashion Ball, c. 1917

Fête Fashion Ball For The Benefit Of The Babies' Hospital Tuesday Evening February 14th At Nine In The Commodore Staged By Alexander Leftwich Tickets $7.50 At All Bascom's Agencies General
Artist: W O
Publisher: Raymond Fuguet & Co., New York
*Reminds me of a certain modern illustrator's work.

Tilff, c. 1918

Tilff 11-15-18 Aout 1918 Grandes Journees Foraines de Bienfaisance Organisees par 'La Tirelire des Pauvres' Entree-Libree Baraques Foraines-Jeux De Plein Air (Quilles Adresse) Promenades A Anes-Promenades Nautiques
Artist: A Hustin

America's Tribute To Britain c. 1918

Published in New York by Marchbanks Press
Artist: Fred W Cooper

Buddies c. 1919

"Buddies" - Proud of it - Join a post - Veteran soldiers sailors & marines. National headquarters 19 West 44th St. New York
Published by Carey Print Lithography New York

Eat Less, c. 1917

Eat Less And let us be Thankful that we have enough to share with those who fight for freedom
{United States Food Administration}

New Spring Drive, c. 1917

The New Spring Drive - Buy War Savings Stamps and Help Save the Country From Autocracy

Buy A Bond, c. 1917

Buy A Bond -[Auto|cracy]- Subscribe At Manufacturers and Traders National Bank on Our Easy Payment Artist: E. Schuerer
Publisher (?): C E.J. Gowdy

Palais de la Fortune, c. 1917

Ouverture 10 Novembre 1917 Vestiaire Liberal Palais De La Fortune Attractions Jeux d'Adresse Concours etc. 22 Rue Des Dominicains au Profit Des Enfants Necessiteux Des Ecoles Communales
Artist: Marcel Jaspar
Publisher: Imprimerie Benard, SoC. An., Liege (Belgium)

Emprunt Francais, c. 1914

Emprunt Francais On Souscrit A La Societe Centrale Des Banques De Province 41, Rue Cambon Paris {Emprunt = borrowing}
Publisher: Devambez Imp. Paris

Exposition de Chrysanthemes, c. 1914

Exposition de Chrysanthemes Au Profit Du V.P.P.N. Femmes et Enfants de Soldats Du Samedi 10 au Mercredi 14 Novembre Hotel Suede
Artist: Liege Marcel Jaspar
Publisher: Printing Company, Liege

Civilization Vs. Barbarism, c. 1918

Civilization Vs. Barbarism - For Humanity's Sake, Save a Life - Red Cross Week June 18th to 25th.
Published by Harris Printing & Engineering Co.

Exposition de Continental Vente de Charite, c. 1914

Exposition du Continental Vente de Charite 13 au 21 Juillet Fleurs & Legumes Au Profite des 'Soupers aux Necessiteux' & 'Cerrte des V' Imp. Benard, Son. An., Liege
Artist: G Hustin
Publisher: Imprimerie Benard, Son. An., Liege

Browning - Uncle Sam's Official Machine Gun, c. 1918

The Browning Uncle Sam's Official Machine Gun A Thrift Stamp a Day Will Help to Keep It Barking Belt holds 250 cartridges Gun weighs 34 1 2 pounds Fires 400 shots a minute Fired 39,000
Publisher: Schulte Cigar Stores Thrift Stamp Series--Poster 6

Mope Ti Skamam Netpa! c. 1914

Mope Ti Skahph Netpa! Aeykos Nyptos Oessaaonikhs Natpiotikh Enosis, Boykoypestioy 9 Aenta 20 Aio. B. Nanaxpysanooy Aohnai
Artist: Natpiotikh Enosis
Publisher: Aio. B. Nanaxpysanooy Aohnai (Greece)

Pan Ta Psemata c. 1914

Pan ta psemata Patriotike enosis voukourestiou 9 {Translation: Everything is lies Patriotic Union Voukourestiou 9} [Greece]
Artist: Natpiotikh Enosis
*The satirical style (and colours) reminds me of the humorous WWI maps, esp. the one by Louis Raemaekers.

Emprunt De La Defense Nationale c. 1914

Emprunt De la Defense Nationale On Souscrit a la Banque Adam 106, Boulevarde Haussmann Paris
Artist: A Romay

Scottish War Savings Committee, c. 1917

Scottish War Savings Committee, Palmerston Place Edinburgh - For Honour's Sake Our Cause Is Just - Join A War Savings Association - Go To A Bank Or Post Office To-Day L1 for 15s 6 Buy War Savings
Artist: Forde

Hold Up Your End! c. 1918

Hold up your end! War Fund Week One Hundred Million Dollars
Artist: WB King
Published by Form N.Y. 18 Second War Fund

Echo From France c. 1918

An Echo From France 'Buy Liberty Bonds' Space donated By Parfumerie Ed. Pinaud
Artist: FA Crepaux
Publisher: H&G Klotz, New York.

Pour la France Versez Votre Or, c. 1915

Pour la France Versez Votre Or L'Or Combat Pour La Victoire {Or = gold}
Artist: Jules Abel Faivre
Publisher: Devambez, Paris

Boys To The Farm c. 1914

Boys To The Farm - Bring Your Chum And Do Your Bit - S.O.S 'Soldiers Of the Soil' - This is the Official Uniform Authorized by the Canada Food Board - Each Suit Bears This Label Soldiers of the Soil Official Uniform Canada Food Board'. Manufactured exclusively by the Montreal Shirt & Overall Co. Limited. Montreal.
Publisher: Howell Lith. Hamilton, Canada.

Bomb Them With War Bonds c. 1914

Printed in London by Hill, Siffken & Co.

"Between 1914 and 1918, millions of posters were printed and displayed in every country. The U.S. campaigns were the largest. For example, for the First Liberty Loan, two million posters were printed; for the Second Loan, five million; for the Third, nine million; and for the Fourth, ten million.

It is estimated that between 2,000 and 3,000 different poster designs were produced in the U.S. alone for government and civilian agencies. Propaganda has been identified by many as the primary purpose of these posters. One author divided the purposes into the following categories: recruiting; financing; encouraging industrial efforts; raising support for policies; urging conservation of resources; informing the public of food needs; and directing emotions such as courage, pride and hate." [source]

There are over 1600 World War I Posters from the Elisabeth Ball Collection at Ball State University (Indiana) that can be viewed segmentally in very high resolution.

Armorial Nobiliaire

2013-01-02T23:25:00.000+11:00

Emblems, escutcheons

& heraldic symbols in

historical coats of arms

from Nice, France

The historic south-eastern French town (and county) of Nice^ (known by its Italian name, Contea di Nizza, up until a few hundred years ago) was an autonomous part of the County of Provence by the 11th century AD. In 1388, Nice formed a union with the Duchy of Savoy before subsequently merging with the Kingdom of Sardinia to become the capital of the Italian region of Piedmont-Sardinia. [W: Nice | County of Nice]

It wasn't until 1860, during the Italian Wars of Independence, that Nice (the city) was annexed by France: the county-proper had ceased to exist early in the 19th century. Today, Nice has a population of around 1 million people and is situated on the Mediterranean coast in the Alpes-Maritimes département, about 30km from the Italian border.

Joseph 'Pipo' Casal (1856-1930) was born in Nice and worked at the municipal library. He had friends in the local arts community and was himself an amateur painter and an enthusiast for regional culture. His position in the library afforded Casal the opportunity to handle and view documents and manuscripts relating to the history of the nobility in and around the Nice and Savoy regions of South-East France.

Accordingly, Casal produced this album documenting the family crests and regional armorial bearings going back over (at least) a couple of centuries. The parchment-bound manuscript was dedicated to the Mayor of Nice who was also on the board of the library. If my very modest French reading abilities are anything to go by, this Armorial album wasn't ever on show for the public (until recent times) but black & white versions of some of the sketches did appear in a book released in 1909. Casal's granddaughter had custody of the manuscript until it was acquired by Nice Library in 1990 or 1991.

It appears that the watercolour sketches are accompanied, for the most part, by historical commentary (of the families, region and period) rather than being true blazons (technical heraldry language describing the symbols used in the coats of arms). The 23cm x 32cm album contains 112 pages, most illustrated in colour, with occasional pen and ink preliminary sketches as seen above.

'Armorial Nobiliaire et Historique de l’Ancien Comté de Nice et des Alpes-Maritimes' (MS 462) by Joseph Casal, 1903, is online via the Bibliothèque Municipale à Vocation Régionale (BMVR) de Nice -- see second entry from the bottom of the page. The manuscript is available in a couple of formats (predominantly Flash), but I extracted (and cropped) the images above from the downloadable pdf file.

A modest amount of background information is available - via image files - from the Nice Historique site. The article by Roland Giraud is from 1991 and is 2 pages long starting from page 20.

[W]: Categories/sub-categories in Heraldry & Heraldry by country.

Previously:

The Beauty of the Heavens

2012-12-29T04:00:00.001+11:00

Astronomy illustrated in the 1840s

"The want of a series of Plates for the illustration of the Science of Astronomy, of accurate, yet popular character, calculated for effective display, and still within a moderate compass, has led to the production of the present Work. The design comprehends 104 coloured Scenes, representing the Astronomical Phenomena of the Universe. These have been carefully executed from original drawings, paintings, and observatory studies; aided, occasionally, by appropriate pictorial embellishment, but with strict adherence to fidelity of detail. [..]

The illustrations form the miniature scenery of a public exhibition, such as is occasionally witnessed in lecture-rooms; the text presenting the substance, the order, and the actual delivery of what becomes, in the present instance, a FAMILY ASTRONOMICAL LECTURE. The prominent features of the present Work are, the novelty and simplicity of the plan, and the elegance of its execution. With its aid a family need not henceforth quit their own parlour, or drawing-room fireside, to enjoy the sublime 'beauty of the heavens;' but, within their domestic circle, may, without any previous acquirements in Astronomy, become their own instructors in a knowledge of its great and leading truths and phenomena.

The Lecture may be read aloud by a parent, teacher or any other member of a party, the Scenes being exhibited, at the same time, in the numercial succession corresponding to their order of description. It would be impossible to devise a more rational, or, to a well-regulated mind, a more cheerful mode of passing an evening; or of inculcating the Divine lesson, of looking 'through Nature up to Nature's God.'"
[Charles F Blunt, Introduction to 'The Beauty of the Heavens']

The Earth: its Form and Position in Space

"INDEPENDENTLY of the great interest we must take in such inquiries as lead to an accurate knowledge of the body on which we live, it is highly important to a clear understanding of its true nature, and the operations of the planetary system, that we make ourselves perfectly acquainted with the circumstances and the position of our earth, which is itself a member of that system; and, for us, holds the important place of the station, or observatory, whence we view and estimate the phenomena and evolutions of the whole. [..]

A little reflection, and a reference to common and well-known appearances observed in travelling, either by sea or land, readily convince us that the earth is of a spherical or globular form. Let a person take any station in a level country, or at sea, and carefully observe the objects within the range of his view; let him then advance in any direction, and, as he moves forward, the objects behind him gradually disappear, and new objects in his front come into view. [..]

The scene exhibits these effects, where the figures of the ships are shewn to become respectively more and more curtailed in their apparent height above the surface of the sea, as their distance from the spectator increases. Of the distant ship he sees only the upper parts of the masts; of the next nearer to him he sees the lower parts of the masts and rigging; but of the ship at the nearest point of distance, he sees, no only the masts entirely, but the hull of the vessel itself, down the surface of the water on which it floats, together with that portion of the surface which lies between the object and himself; of the ship more remotely placed, he sees nothing. These are appearances which can only be reconciled by assuming a spherical figure for the earth."

{I think this simple model shows:} the effects of centripetal and centrifugal forces, together with the pendulum and gravitational effects, on the orbital paths traced by planetary bodies and moons in the universe

The Planetary System: Mercury, Venus, the Earth and Mars

The Earth, Inferior Planets, and the Asteroids Vesta, Juno, Ceres, and Pallas

[Some descriptive pages before these paragraphs:] "In the view we have just taken of the system, we have looked at the entire arrangement, independent of any restriction as regards the point from which that might be supposed to be taken. We imagined ourselves, for the moment, stationed at a distance that might be sufficient to afford a view of the whole, as of a a scene spread out before us. This simplification gave us a clear idea to the extent and general dimensions of the subject; but now that we are to inquire into the circumstances of each separate body in detail, we must consider our view as taken from the earth, the station from which our observations are naturally made.

It is, in some degree, necessary to have these two different points of view in our recollection: the one, because we know the sun to be the true centre of the system; the other, in which we are compelled to view the appearances of the heavens and planetary motions, as if the earth were really in the centre, because it seems so to us. The one, therefore respects the real situations and motions; the other respects their imaginary or apparent situations. The real view is sometimes called HELIOCENTRIC, a term compounded of the two Greek words, signifying, the sun in the centre: the apparent view is termed GEOCENTRIC, signifying, the earth in the centre."

The Moon at the Full

Mouseover the image for a feature map of the lunar disc!

Nomenclature of the Lunar Spots:

A	B	C
Tycho**	Schickardus	Pitartus

D	E	G
Bullialdus	Gassendus	Grimaldus

H	I	K
Hevelius	Aristarchus	Kepler

L	M	N
Copernicus	Appennine Mountains	Archimedes

P	Q	R
Possidonius	Cleomedes	Arzachel

T	W	Y	Z
Sea of Nectar	Fracastorius	Lake of Death	Plato

** This particular location was identified as 'Atlas' but the book's moon map legend had a few mistakes, contradicted elsewhere. I'm fairly confident that landmark A *is* Tycho, described down below.

"Next to the sun itself, the moon is, to us, the most conspicuous of the heavenly bodies; and the changes she undergoes in her appearance are more remarkable and more obvious than those of any other objects in the planetary system, and her apparent motions are more rapid. Hence, the motions and changes of the moon engaged the attention of astronomers before much was known to them of those of the sun; and hence it was that the earlier inhabitants of the earth reckoned their time by the apparent motion of the moon, calculating by a lunar, not a solar year. [..]

The scene represents the face of the moon, as she appears through a powerful telescope, at the full, or, what is termed, in opposition. The surface of the moon, when viewed in this manner, presents a great diversity of irregular forms, and great differences of illumination; but the principal masses of light and shade are visible to the naked eye. Some spots resemble, in a striking manner, the appearance of mountains and valleys, and the effect of volcanic disturbances; and some observers have even imagined that they could distinguish volcanoes in a state of active combustion. [..]

The moon is not surrounded, like the earth, by vapours or clouds; for, whenever she is visible to us, she appears with the same serene, clear, and calm aspect. It is generally received opinion, that there is no water upon the moon; and hence we are entitled to infer, that none of those atmospherical phenomena which arise from the existence of water on our own planet will take place on the moon."

The Moon's Phases

"ALTHOUGH the varying phases of the moon are among the most frequently observed phenomena of the heavens, they are yet the most surprising and beautiful; owing to the frequency and the strict regularity of these changes of appearance and situation in the moon, the causes of the phenomena are little thought of by an ordinary observer. If the changes from new moon to full moon, and from full to new, happened only at long intervals, they would, without doubt, be considered the most extraordinary of all celestial phenomena."

Constellations of the Northern Hemisphere

"It may be readily imagined, that the splendour of the scene of the starry heavens, in appearance perpetually revolving around the earth, must very early have commanded the earnest attention of mankind; and that, long before any systematic cultivation of science, men must have remarked the regular changes of situation, in regard to the earth, of the stars apparently fixed in the heavens, and that, though they appear unequally and irregularly dispersed over it, they must, in some measure, have classed them, and reduced them to something like order, and that the most brilliant would chiefly attract their attention; and hence, that such arrangement of the whole would be made as to enable the learned to hold intercourse on the subject, without immediate reference to the objects themselves.

In what age of the world the artificial arrangement of the stars into constellations took place, is not known with precision, but it is most certain that it was antecedent to any distinct historical record."

Cassiopeia

"CASSIOPEIA lies directly opposite to Ursa Major: the fee of Cassiopeia are directed towards the head of that constellation, the interval between them being divided into nearly equal portions by the pole star. The figure is that of a woman seated on a chair, slightly clothed, with both hands raised, holding in the left, a branch of palm, and in the right, a portion of her head-dress."

The Sun's Place in the Ecliptic

"THIS scene illustrates the meaning of the expression of the sun's place in the ecliptic. It has already been explained, that by the ecliptic is meant the imaginary circle in the heavens, in which the sun appears to move as seen from the earth, or the circle in which the earth appears to move as seen from the sun.

The zodiac is that portion of the heavens through which the middle of the ecliptic appears to run, and is portioned out into twelve parts, or divisions, each of which is termed a constellation; as Aries, Taurus, Gemini, &c. The sun, as seen from the earth, always appears in the ecliptic, and, consequently, in some of these constellations. That portion of the zodiac in which the sun appears, is termed its place in the ecliptic, the ecliptic being itself within the limits of the zodiac.

The scene shews the sun in the centre, and the earth in several points of its orbit round it; and beyond it is a circle, representing the constellations of the zodiac in their order."

The Apparent Retrograde Motion of the Planets

"THIS scene illustrates the apparent retrograde [backwards] movements of the planets Mercury and Venus. The outer circle of the scene is the circle of the zodiac, or stars, among which the apparent paths of those planets seem to be. In the centre is the sun; the circle of small globes, next beyond the sun, represents Mercury in his orbit; on the border of the scene, to the right, is a green globe, representing the earth.

Now, if we imagine the balls, representing Mercury, to move round in their orbit, beginning at the point opposite to the earth, and to move from right towards the left, the lines which are drawn from the earth through the planet at each stage of its progress, and extended as far as the zodiac, will shew to what parts of that circle the observer on earth refers the planet; or, which is the same thing, in what parts of it the planet appears to be from time to time."

The Phenomena of the Seasons

"In this scene the sun is represented in the centre, surrounded by the earth, which is shewn in four principal points of view, according with its position during the seasons we term spring, summer, autumn, and winter. In each position the poles of the earth are in the same direction as in nature; and the boundaries of day and night, as regards the poles, are seen in each. On the outer side of the figures of earth, are the signs of the zodiac, by which we can understand what, in a former scene, was termed the sun's place in the ecliptic (or zodiac), at the four great points of the earth's orbit; and, of course through all the intermediate points."

The Moon's Surface - Kepler

"The accurate observations of the moon's surface was one of the earliest applications of the telescope. Its remarkable mountains and cavities, ridges and detached rocks, and annular spots, have been examined and drawn by different observers. [..]

The spot, Kepler, the subject of the scene, is remarkable for its brilliancy, and its widely extended and varied ramifications, which consist of vast rocky ridges and hollows alternately, with cavities of great extent and depth; the bright circular spots of this place are considered to be insular mountains, or peaks, highly illuminated."

The Moon's Surface - Fracatorius

"This spot is situated on the south-western part of the moon's disc, or on the right side, about one-fourth of her diameter from the lower edge. Its upper portion is a vast hollow; and on its lower, or southern border, are two remarkable cavities of great depth, and bordered by an annular ridge of high rocks, from which radiates an extensive straight ridge of heights, brightly illuminated; smaller mountain peaks are interspersed; and on the right, or western side, a remarkable elevation is seen, having a high annular ridge surrounding it, and an insulated peak in its centre."

The Moon's Surface - Tycho

"This is the remarkable spot, on the lower part of the moon's disc, which is always distinctly visible to the naked eye, and which seems the centre of those radiating lines of spots, which richly cover the south-western, or right-hand lower portion of the moon. Caverns, or hollows, occur most frequently in this quarter; and it is from this circumstance that it is the most brilliant part of the moon's surface. The mountainous ridges, which encircle the cavities, exhibit the greatest quantity of light; and, from their lying in all directions, with an uniform distribution, and yet radiating from the central spot, they seem passage to the vast cavity in which the bright spot is situated. The cavity is estimated to be fifty miles broad, and nearly three miles in depth."

There is very little information online about this book or its author. Originally published in 1840, Charles F Blunt's educational book on astronomy incorporated an 1836 illustrated book, 'Uranographia'^, by an Elizabeth Blunt (relationship to CF Blunt unknown). The 1842 edition of Blunt's 'Beauty of the Heavens' became very popular apparently. [An 1840 copy sold for ~$1000 in 1995]

Blunt included over one hundred illustrations, employing the relatively new printing process of lithography, and the 'greasy crayon' appearance of this technique is quite prevalent. I tend to think it signifies an unpractised or even an unsophisticated print artist; most likely new to the printing format. However it doesn't detract from the overall design accomplishments of the book and the appearance is made all the more attractive with a hand-coloured finish.

I thought it greatly worthwhile to type out a fair sampling of the text, if only for my own amusement. The writing is fabulous: ponderous verbosity one moment, lyrical and poetic the next. I sense a bit of a struggle between the scientist aiming for accuracy and an educational showman hoping to popularise his favourite subject matter. Overall, I think he did a pretty good job for the 1840s; the book has integrity.

All the images above are cropped from their full page layout, with only one image having some peripheral illustration detail removed, as I recall. There is a whole other section of 'painterly'-style illustrations in the book that are not represented at all above.

'The Beauty of the Heavens : a Pictorial Display of the Astronomical Phenomena of the Universe', 1842 by Charles F Blunt is hosted online by the magnificent Swiss library e-rara platform for rare books. [note the thumbnails link] [e-rara homepage]
This post comes via a very good entry from the Digital Collections blog out of Zurich's Swiss Federal Institute of Technology [trans.] [T] [blog homepage | trans.]
'The Beauty of Heavens' is available in full on googlebooks (from NYPL) : the illustrations are in colour but it's not as nice a copy as above.
Previously: astronomy ::: astrology ::: science.

Sporting Girls

2012-12-24T23:30:00.000+11:00

*Hamilton King Girls*

Yachting Girl

Skating Girl

Tennis Girl

Light Opera Dancer

Basket Ball Girl

Polo Girl

Rowing Girl

Ping Pong Girl

Palm Beach Girl

Golf Girl

Reina The Circus Queen

"Cigarette or tobacco cards began in the mid-19th century as premiums, enclosed in product packaging. They were usually issued in numbered series of twenty-five, fifty, or larger runs to be collected, spurring subsequent purchases of the same brand. Typically, these small cards feature illustrations on one side with related information and advertising text on the other. [..] The height of cigarette card popularity occurred in the early decades of the 20th century, when tobacco companies around the world issued card sets in an encyclopedic range of subjects.
{from the NYPL Cigarette Card Collection || see more links from W}

Hamilton King (1871-1952) was a commercial artist, active from about 1890 in New York state. He produced illustrations and etchings for music sheet covers, postcards, magazines and calendars and was best known for his sketches of pretty ladies.

King's renown was established with the release of cigarette card prints between 1902 and 1913 that became known as 'Hamilton King Girls'. The promotional cards for Turkish Trophies and Helmar cigarettes consisted of five or six individual sets: sketches of women and those drawn by Hamilton King himself, bathing girls, women in period costumes, flag girls of the nations and sporting girls. King had to employ other illustrators to keep up with the demand and the style was copied by his competitors.

"The Hamilton King Award, created in 1965 by Mrs. Hamilton King in memory of her husband through a bequest, is presented annually for the best illustration in the Annual Exhibition executed by a member of the Society [of Illustrators]. One of the industry’s most prestigious awards, the selection is made by former recipients of this award and may be won only once."

The majority of the images above were sourced from the Metropolitan Museum. The last few come from expired auction sales.
American Art Archives has a number of other images of the 'Hamilton King Girls', including examples used in advertisements and magazine covers.
The illustration style turns up in such diverse places as cow-hide prints and pillow slips.
Previous posts on costumes.

Palazzo Milesi Vases

2012-12-19T05:31:00.002+11:00

Vessels bearing classical motifs first painted

on walls at the end of the Renaissance;

& reproduced as Mannerist-styled engravings

"When Polidoro da Caravaggio arrived in Rome around 1515, possibly untrained, he was hired to carry plaster for Raphael's workshop in the Vatican. Under foreman Giulio Romano and co-worker Perino del Vaga, Polidoro advanced quickly to fresco painter. Between 1524 and 1527, Polidoro became renowned for his monochrome re-creations of Roman history that spanned palace facades."
[quote source]

"Just before the Sack of Rome in 1527, Polidoro [..] decorated the facade of the Palazzo Milesi in the city with a series of monochrome frescoes, depicting classical scenes, trophies and vases. The wit and invention, particularly of the designs of the vases, meant that these motifs became widely admired, and their fame spread as a number of series of prints reproduced them."
[quote source]

"The subject of the paintings is the myth of Niobe, although many scenes were inspired by the reliefs of Colonna Traiana. The name of the street - via della Maschera d'Oro (Golden Palace Road) - is due to a detail of the decoration showing a little boy hiding behind a golden mask."
[quote source]

[Google Maps: Via della Maschera D'Oro, 7, Rome, Province of Rome, Italy - you can catch glimpses of the wall figures with street view [also]

"Composed of illusionistic classical figure scenes, trophies and vases, they were not only highly visible but also revolutionary in design. Most remarkable were the vases painted on the Palazzo Milesi shortly before 1527, which Vasari [artist/historian], even though accustomed to the distortions of later Mannerist design, described as being 'so curiously wrought that it would be hard to find anything more beautiful or novel'. Perhaps because they had no need even to pretend to archaeological correctness, Polidoro's vases carried fantasy a good deal further than [contemporaries].

The vases rapidly became famous and were drawn by many artists in Rome. By 1544, versions had appeared in a Roman set of prints and some of the designs reached France in the middle years of the century through interpretations by Ducerceau and René Boyvin. It was not, however, until 1582 that the first set of prints dedicated to them alone appeared, engraved by Cherubino Alberti in Rome.

The Palazzo Milesi vases, being on the second floor, were accordingly severely distorted so that they would read correctly from below. Unlike earlier printmakers, Alberti made no attempt to correct the distortions. Shown in their distorted form but viewed from straight ahead, the striking boldness and complexity of Polidoro's ideas was considerably increased, setting in train a long series of reissues, copies and other versions. [..]

Although prints after Polidoro's vases led to many imitations in metal, stone and ceramic [..], their picturesque shapes made them equally or perhaps more influential as a source of motifs and pictorial props for decorative and easel painters, including artists like Sir Joshua Reynolds and, much later, Cézanne.

Their most important effect, however, was to license the distortions, rearrangements and additions to the classical language which characterized the increasingly bizarre baroque and rococo vases conceived in the hundred years after 1660."
[quote source | Amazon]

The Pilazzo Milesi vases by Polidoro da Caravaggio were engraved as a suite of 34 prints by Cherubino Alberti^ in 1582. Only ten of the original set survived and were republished - in reversed appearance from the originals - in 1605 in Prague by Aegidius Sadeler^ and it's these ten prints seen above, hosted by Budapest's Museum of Fine Arts : Prints & Drawings [search on Alberti, Cherubino OR Polidoro da Caravaggio from the drop-down menu under 'Production People'].
Homepage of the wonderful Budapest Museum of Fine Arts - Collection of Prints & Drawings in Hungary. - with more than 4,500 images available online.
Pilazzo Milesi at the romasegreta site [trans.] has more background on the Golden Palace and the frescoes, including a couple of pictures. (but all the varied links above are worth seeing too; no single site has a comprehensive overview of the palace or the facade paintings, engraved prints and people invovled).
One of the intriguing features - for me - about this set is the way in which slightly warped perspective has been rendered into the prints. The original fresco paintings were between the 1st and 2nd floor of the building and Polidoro produced a tromp l'oeil effect^ so that the vases, when seen from the street below, appeared in regular proportion, but they were only seen that way because the figures were drawn out or elongated. That distortion has been retained in the prints (more obvious in some), so I wonder if Polidoro's approach was an honest attempt at 'realism' or whether the distortion was in keeping with one of the traits of the emerging style of mannerism. Or perhaps I'm overthinking things. Again. [About | Wikipedia].
Sincere thanks to Will C for his advice and research. I hope this is a satisfactory - if lazy - outcome.

Le Buffon Choisi

2012-12-13T03:17:00.000+11:00

A humorous children's zoology book, loosely modelled

after the 18th century scientific works of Buffon,

one of the leading figures of the French Enlightenment

Le Buffon Choisi by Benjamin Rabier

~The Buffon Selection

book cover, 1924

Le Cygne

(The Swan)

Pachyderms (L'Eléphant)

Le Coq

Le Cheval

(the horse)

Le Pélican

Le Tigre

L'Homme - sa supériorité sur les Animaux

*Man's superiority over the animals* -- apart from being the illustration title, this line is also the heading in the book's introduction. It's meant to be a reflection of the serious work that went into the enormous 40+ volume series (Buffon's 'Natural History'), but it is also a tongue-in-cheek jab at the impossibility of man ever really dominating the animal world, and particularly so in the case of domestic animals. They have minds of their own!

Le Rhinocéros

Benjamin Rabier (1864-1939) was a self-taught artist who grew up in Paris. His most famous comic design may well be the laughing cow figure - 'La Vache qui Rit' -the product mark for a brand of processed cheese.

Rabier was a prolific illustrator and his work appeared in hundreds of books, as well as in all the contemporary and humorous magazines and newspapers in France. He also produced art works for advertising, editorial cartoons, groundbreaking comic forms and, if that wasn't enough talent on show, he managed to write at least one stage-play.

Around 1910, Rabier had begun to create animal illustrations for a whole series of 30+ children's illustrated periodicals, each based on single animal as inspired by (Georges Louis Leclerc, comte de) Buffon's great scientific encyclopædia. It seems the original intention was to introduce Buffon's work to a young audience, but over the next decade Rabier developed a softer and more humorous rendering of the original scientific writing and illustrations.

Rabier gave his animals slight human facial qualities (anthropomorphism)^ and the accompanying text moved from the practical and informative to a more traditional children's book story-telling style. The Buffon books he published in the 1920s gravitated somewhere between caricature and realism and were definitely intended more as entertainment rather than as educational works. Rabier nevertheless continued to cite Buffon as the author of the words.

'Le Buffon Choisi' 1924 by Benjamin Rabier is online at the Digital Library of Toulouse. [the illustrations and cropped vignettes above - very slightly background cleaned - were extracted from the .pdf file]
Benjamin Rabier at Lambiek Comiclopedia.
Georges-Louis Leclerc, Comte de Buffon.
www.benjaminrabier.com/
Benjamin Rabier works at Amazon.
Patricia has (of course!) a bunch of posts at Agence Eureka on works by Benjamin Rabier: one, two, three, four, five, six, seven and maybe more ----> these are compulsory: please go visit!
There will most likely be another Rabier post here in the next week or 3 (unless P gets there first!)

Plant Anatomy Charts

2012-12-05T01:22:00.001+11:00

The vast majority of these illustration plates are

from a plant systematics wall chart series - the
Dodel-Port Atlas - released between 1878 & 1883

"Living nature is the best teacher and pedagogue; an artistic medium of representation tries to replace nature and this can be possible in practice only if the images are true to natural objects. [..]

We had in mind not only the needs of Hochschule, but also those of the Mittelschule. Pupils of different age mainly have been served badly in regard to schematic representations of all kinds, so that it is actually difficult for them to gain a correct underestanding of natural living things... Accordingly, the 'Anatomisch physiologische Atlas der Botanik' will be designed to be used at every level of botanical teaching and in every branch of botanical knowledge. [..]

Natural, scientifically reliable wall charts can replace a natural object in classroom teaching and in lectures; they are more enlightening than the spoken word." [Arnold and Carolina Dodel-Port, 1883]

Stigma and pollen Tubes of Lilium martagon

Martagon or Turk's cap lily

Cork

Volvox minor

Volvox globator

"This shows the freshwater green alga Volvox globator. Many individual cells live together forming a beautiful spherical colony. Some of them are specialized for reproduction."^

Archegonia

The flask-shaped female organ in lower order plants (mosses for instance)^ containing the ovum or female gamete at its base. I presume this illustration series shows fertilisation occurring.

Endocarpon pusillum

(Hedwig lichen^)

Cosmarium botrytis

(see: Algaebase)

Polysiphonia subulata

(red algae genus^; species name is likely deprecated)

Oedogonium diplandrum

(near-microscopic filamentous algae [Algalweb])

Selaginella helvetica

(after Pteridophyta before Gymnosperms
- spikemosses^)

Prothallus (Gametophyte)

Aspidium species

(wood fern)

Prothallus (Gametophyte)

Aspidium species

(wood fern)

The Dodel-Ports' schematics were far superior as teaching aids versus a contemporary wall chart of the same species, immediately above. {The Dodel-Ports Atlas is noted as a very influential contemporary model for educational chart design}

Aspidium filix Sporangia

(Wood fern^)

Taxus baccata

(common Yew tree^)

Stem Tillia sp.

(Probably Tilia cordata^ cross section)

Root, transverse Section

Monocot^ root

Iris sibirica

Iris sibirica

Iris sibirica^

Flower – Violaceae (Viola tricolor^)

Elodea canadensis, Gaspary

(Canadian waterweed^)

Cycas circinalis = Queen palm

Cycas revoluta = Japanese sago palm

Cycads are seed plants typically characterized by a stout and woody (ligneous) trunk with a crown of large, hard and stiff, evergreen leaves.

Arnold Dodel (1843-1908) was a Swiss-German botanist who held professorships at Swiss universities where he studied plant reproduction and algal species and he founded a botanical microscopy laboratory at the University of Zurich.

Dodel was a prolific author of popular educational works on plants and an enthusiastic supporter of socialism. He was a regular correspondent with the eminent German biologist-artist, Ernst Haeckel, as well as Charles Darwin. Dodel was an early and vocal advocate for the Theory of Evolution (see).

Dodel married Carolina Port in 1875 and she contributed a large number of the illustrations to the series displayed above. He was subsequently known as Arnold Dodel-Port.

The Dodel-Port Atlas consists of 42 botanical teaching charts published from 1878 to 1893. Two sources were used for the images seen above. Complete sets of the lithographic plates appear to be rare.

All 42 plates from the Dodel-Port Atlas are accessible via the European Library (these are the plates above with black borders) - the original works and digital files are owned by the National and Royal Library of The Netherlands.
The balance (majority) of the illustrations above were sourced from the Historic Charts Collection at New Zealand's McGregor Museum (University of Auckland).
Scotland's University of Dundee Museum scientific chart collections.
In passing: a short review with photos from a U Dundee 'Plant Life' exhibition in 2009.
Books by Dodel-Port : Googlebooks | Amazon | Worldcat.
There is little in the way of background information easily available online about Dodel-Port but one significant recent book appears to place his contributions in context on the historical timeline of graphical teaching : 'Visual Cultures of Science: Rethinking Representational Practices in Knowledge Building and Science Communication', edited by Luc Pauwels, was published in 2005 and sounds impressive.
Thanks variously to Will Schofield & Scientific Illustration.
Previously: 19th Century Wall Charts -<>- Dutch Botanical Wall Charts -<>- Wageningen Wall Charts. [science | flora]

Moderner Volkskunst Zierat

2012-11-28T23:00:00.000+11:00

Ornament designs from about the 1920s

printed by the pochoir stencilling technique.

"Pochoir is a refined stencil-based technique employed to create prints or to add color to pre-existing prints. [It] was primarily used to create prints devoted to fashion, patterns, and architectural design and is most often associated with Art Nouveau and Art Deco. [..]

Pochoir begins with the analysis of the composition, including color tones and densities, of a color image. Numerous stencils were designed as a means of reproducing an image. [C]oloristes applied pigments using a variety of different brushes and methods of paint application. The thick paint medium, gouache, causes a build up against the stencil's edge resulting in a surface elevation that can be both seen and felt [and] textural variety is achieved by varying the technique for applying the paint: daubing, spraying, spattering, or sponging are the most common choices.

The manual aspect of pochoir has been both one of its most valuable attributes and one of its greatest failures as a medium. Pochoir is both labor-and time-intensive, making it an expensive and slow process of printmaking. As a result, techniques such as lithography and serigraphy, mechanized in nature, have replaced pochoir as a method of reproduction. Pochoir has been used in conjunction with other medium such as engraving, lithography, or photography as a means of adding color to a print."
[Text from: 'Vibrant Visions: Pochoir Prints' in the Cooper Hewitt Design Museum]

[This uncropped/untouched image shows the normal page layout;

the other images have been very lightly background cleaned]

'Moderner Volkskunst Zierat' (Modern Folk Art Ornament) by P. Siegel (n.d.) is hosted online by the University of Houston Digital Library.

This album presents ornament design templates for use in decorating textiles, ceramics, wallpaper and related household items. They are fairly sophisticated patterns for folk art. The book of eighteen illustration plates was produced in Germany in the early decades of the 20th century, although the actual date of publication is unknown.

The scant mentions of this book online offer up release dates ranging from 1910 to 1930. I would guess 1920: the organic motifs are Art Nouveau in style, but the overall symmetry and order in the designs hint at the emergence of an Art Deco aesthetic. Or so I tell myself^; I'm often in two minds about specific eras and artistic styles (is it Baroque or Mannerist?; Renaissance or Early Modern? etc etc.). I think the fence is the right place to be on this occasion.

Later, I asked a web mate for his more professional opinion. He pegs the album to about 1910 and concludes it belongs to an artistic style that evolved in parallel with the Art Deco and Art Nouveau elements. It's the modernising of regional folk art into a stylised publishing form - with influence from Neoclassicism - that most associates 'Moderner Volkskunst Zierat' with a reform movement, and particularly the Vienna Secession^, in my mate's opinion. (this is a very brief summary of his reply and I hope I've got the gist of it correct)

Obviously this gets into the academic - and maybe pedantic - weeds of art history; whereas I was simply attracted to this set by the bold, colourful designs and interesting print style. The Saxony publishing firm of Christian Stoll issued quite a number of books in the first three decades (at least) of the 20th century on contemporary decorative arts.

Pochoir: Vibrant Visions intro ~ & ~ The Art of the Pochoir Book.
Wikipedia: Art Nouveau -- Art Deco -- Pochoir.
Previously: Kiowa Pochoir Prints ::: Deco Vignettes ::: Design Nouveau ::: Pochoir Insects ::: Severini Pochoir ::: Pochoir.
Andreas Closer Antiquariat lists 'Moderner Volkskunst Zierat' for €1200.
Christian Stoll Publisher books: Internet Archive, Worldcat, Amazon

Early Explosives

2012-11-26T23:48:00.000+11:00

Grenades, projectiles, fireworks and offensive weaponry

illustrations from a 16th century German manuscript

Beyond the novel inclusion of our rocket bird and turbo cat - up top - this 1584 treatise on explosive devices appears to illustrate weaponry seen in earlier manuscripts and offers no new technologies for the Renaissance commando types.

The sketches show various types of barrel bombs, hand grenades, nasty fragmentation/shrapnel explosives, cannons, ~~throwing stars~~ caltrops (anti-personnel ground spikes), unsophisticated spear and staff-mounted 'rockets' or bombs, catherine or pin wheel fireworks and your-guess-is-as-good-as-mine fire vessels and defensive emplacement stakes. Good to know that our modern evil ways build on the twisted imaginations of artistic forebears.

Ms. Codex 109 ('Feuer Buech' or 'Feuerwerkbuch' - Fireworks Book) is an anonymous paper manuscript of ~230 leaves, including more than 30 colour sketches, hosted online in full by the University of Pennsylvania Libraries.
The accompanying bibliographic description notes that the manuscript contents bears similarities with a Berlin work from the 1420s.
Previously: Combat -- includes a number of similar illustrated Renaissance/Medieval military manuscripts and books (particularly: Artillery Firepower from a few decades later)
Note: the images above are cropped slightly and a modest amount of background staining has been removed.
ADDIT (Jan 2013) - @MitchFraas observes: "Here's another lovely explosive cat+bird illus. from a different Penn Ms. http://twitpic.com/bxgle8 "
UPDATE !!: See: A Rocket Cat? Early Modern Explosives Treatises at Penn --> Mitch Fraas from the University of Pennsylvania Libraries has gathered together all the information that has surfaced since the Rocket Cat image (or Turbo Cat, as I originally dubbed it) careened around the interwebs. [Unique at Penn : blog homepage]
Elsewhere: Twitter -<>- Delicious -<>- Pinboard.

Discovering Australia

2012-11-22T02:19:00.000+11:00

The images below - all spliced together from screencaps - were produced in the early 19th century by the first (free) professional artist in Australia, JW Lewin. Except where stated, all the sketches are in watercolour. Lewin arrived from London in 1800 with a mission to collect, draw and publish Australia’s natural history for a European audience. The images were contributed by a number of institutions to a NSW State Library exhibition - Lewin: Wild Art - held in Sydney earlier in 2012. [book]

Koala and Young (1803)

This is likely the first ever sketch of a koala by a European. The animals are rightly placed adjacent to their favoured gum leaves but, against the size of the koala, they are enlarged out of true proportion.

Australian Nuthatch or varied sittella (1808)

Daphoenositta chrysoptera [factsheet]

Waratah (floral emblem of NSW) (1806)

Telopea speciosissima [RBG | pics]

Fish Catch and Dawes Point* (1812)

This oil painting is a bit surreal with the fish appearing to hang in mid-air

Sydney Cove (1808)

"This watercolour shows the west side of Sydney Cove. At the right is merchant Robert Campbell's house and warehouses, now the site of the Park Hyatt Hotel. The Rocks lie behind. Lewin's watercolours are unromantic and plain. Most views of Sydney made at this time were composed to emphasise its supposed similarity to picturesque English towns."
{? The artist's viewpoint may be from the site of the future Sydney Opera House [map]}

Echidna (or porcupine ant-eater or short-beaked echidna) (1807)

Tachyglossus aculeatus [EDGE]

That's not a totally accurate depiction, especially around the back end [pics]. I've only seen one in the wild, up on the north coast of NSW, near Byron*, sunning itself in the middle of the road. I picked it up - wearing motorcycle gloves, thankfully - and moved it into the bush.

Acacia (1805)

One of the black wattle species*

??Acacia mearnsii [info]

Perhaps Lewin's most original, naturalistic and sophisticated artistic design

Blueit, a native of Botany Bay (1810)

"Lewin made few commercial images of Aboriginal people, perhaps reflecting the generally static interest among colonists towards Aboriginal people during his time in the colony. Many more portraits of Aboriginal people were made during the first 10 years of colonisation, and then from the 1820s onwards. Lewin's watercolours were designed to show Aboriginal people in 'typical' poses."

Wombats (1801) {of which there are 3 species - [W]}

"In 1801 William Paterson sent an English colleague a drawing of a wombat, which he had owned and had 'alive for some days'. This is one of Lewin's first watercolours to locate specimens within a specific local environment, an idea he continued to push."

Spotted Side Finch or Diamond Firetail (1800)

Stagonopleura guttata [factsheet]

Platypus (1810)

Ornithorhynchus anatinus [W]

Just by the by: Flickr pool: Marsupials & Monotremes

"Of all the mammalia yet known, it seems the most extraordinary in its conformation, exhibiting the perfect resemblance of a the beak of a duck engrafted onthe head of a quadruped. So accurate is the similitude, that, at first view, it naturally excites the idea of some deceptive preparation by artificial means; the very epidermis, proportion, serratures, manner of opening, and other particulars of the beak of a shoveler, or other broad-billed species of duck, presenting themselves to the view: nor is it without the most minute and rigid examination that we can persuade ourselves of its being the real beak or snout of a quadruped." [George Shaw's 'General Zoology' 1800*]

Banksia Beauty or Banksia Moth (1803)

Psalidostetha banksiae

hand-coloured etching

"A newly discovered animal of the Derwent" : Tasmanian Tiger (1809)

Thylacine cynocephalus [DPIPWE]

"All known Australian footage of live thylacines, shot in Hobart Zoo, Tasmania, in 1911, 1928, and 1933" - from Wikipedia.

There have been no conclusive sightings of the Tasmanian Tiger since 1936.

The southern leaf-tailed gecko

Phyllurus platurus (1807)

Oddly, there seems to be two separate animals called the southern leaf-tailed gecko: Phyllurus platurus* AND Saltuarius swainii*; but it/they is/are camouflage experts so maybe they're leading double lives.

"A veiw [sic] of the River Hawkesbury, N.S. Wales" (1810)

Hawkesbury river* essentially marks the north
and north west margins of greater Sydney.

"This watercolour depicts the fertile Hawkesbury River. It is Lewin’s most elaborate landscape, which alludes to the richness of the district through its formal composition."

John William Lewin (1770-1819) was a trained natural history artist in England - with a family background in art - who was enticed to visit Australia by stories of the fantastical exotic fauna.

Lewin contributed illustrations to a number of books on local insects and birds. That subject matter had already fallen out of favour by the end of the first decade of the 19th century, so Lewin was unable to raise sufficient funds to return home to England, per his master plan.

Instead, Lewin did portrait painting, upgraded his scientific specimen collecting and sketching techniques and assisted Sydney government office holders with his artistic talents. He gained associate membership of the Linnean Society and was awarded farming land in honour of his well regarded contributions to his adopted city's cultural record.

Lewin was held in high regard by both his peers and by art historians from the modern era too. His sketch works are often cited as groundbreaking attempts at representing Australian scenes in a natural way, moving on from classical/European artifice:

"Art critic Robert Hughes comments that he [Lewin] was the first to record the distinct 'look' of Australia without being blinded by European art conventions".

The praise is most noteworthy because Lewin developed his style and talents independently. He wasn't associated with the normal scientific community of the time that included such a luminary figure as the naturalist, Sir Joseph Banks, who arrived with Captain Cook in the 1770s.

All the images above were spliced together from screencaps, sometimes many per illustration. Variable, but modest, amounts of cleaning of background stains was performed on the majority of pictures.

The images come from a set of 160 pictures that were gathered together by the State Library of NSW for the Lewin: Wild Art exhibition site. The images are best seen in the pseudo-megapixel 'collection viewer' expanded to full screen. Each image can be seen easily in the frame at high resolution. Once you zoom in, descriptive information appears in the margin as well as very short curator videos for many of the illustrations.
Biographies: Wikipedia & Australian Dictionay of Biography.
Exhibition review at Oz Wildlife Studio.
'Mr JW Lewin: Painter & Naturalist' 2012 by Richard Neville was published to coincide with the SLNSW exhibition. [interview with the author]
Previously: Australia.

Art for Ape Sake

2012-11-17T04:17:00.000+11:00

A suite of anthropomorphic engravings

from 1635 by Quirin Boel & David Teniers

Twee apen houden een wereldbol

Two monkeys holding a globe

Twee apen maken muziek

Two monkeys making music

Twee apen spelen triktrak

Two monkeys playing backgammon

Twee apen kaarten

Two monkeys playing cards

Twee apen roken pijp

Two monkeys smoking a pipe

Twee apen eten oesters

Two monkeys eating oysters

Een aap legt een verband aan

Two monkeys: one heating a compound; the other applying a dressing (?)

This small print series is called 'Verschillende Bedrijven uit het Menselijke Leven Door Apen Voorgesteld' [approx: Various episodes of human life performed by monkeys] from designs by the Flemish painter David Teniers.

The engravings were executed by (or after) Quirin Boel (or Coryn Bol). The series is dated 1635 which would make Boel 15 years old at the time of publication. I'm not saying it's impossible, and the prints are certainly less sophisticated than his later engraving work, but I would have presumed Boel's date of birth or the printing date (or both) is/are inaccurate. Alternatively, 1635 is the date the designs were conceived; it's a little ambiguous to me and of passing interest in the great scheme. It simply caught my attention because it's a fun set of parodic/comical figures.

The series was found via the newly revamped Rijksmusem, in particular the API service and specifically through the Arkyves ICONCLASS search database that uses the API. All this means is that there are now many and varied ways to sample or store digitised material or build applications on the massive holdings of the Rijksmuseum. Thanks very much to Charley of Lines and Colors for the heads up.

Rijksmuseum hompage.

[Addit. for the record, I've used a variation on that title pun before: I'm nothing if not ~~lazy~~ consistent: Heart for Art's Sake.]

Paris Hours

2012-11-16T00:12:00.001+11:00

Parchment leaves from a 15th century Book of Hours (use of Paris), encompassing: "[f]ifteen large miniatures, usually above 3 lines of text in arched compartments, surrounded by full borders of blue and gold acanthus, flowers, green pears, strawberries, and a particularly large number of grotesques, frequently obscene." [Ed. I think the name, 'drolleries', is probably closer to the mark]

"For three hundred years, from c. 1250 to c. 1550, the Book of Hours was the bestseller of the late Middle Ages and the Renaissance. The core of the Book of Hours is the Office of the Virgin Mary, with its set of prayers to be recited at home eight different times, or hours, of the day, just as monks chanted the office during the eight monastic hours. Books of Hours still exist on the market in greater number than any other type of medieval manuscript.

Books of Hours are remarkably varied. Everyday versions were sometimes written on paper with modest ornamentation. Deluxe versions were nearly always copied on fine parchment and richly illuminated with precious gold leaf and lapis lazuli by the best artists of the day. Kings and queens, princes and princesses, doctors, lawyers, merchants, housewives, and even children, who learned to read from them, owned Books of Hours. Wealthy women often received illuminated Books of Hours as dowry presents. Recording in them milestones of family history, they passed them down from generation to generation as heirlooms."
[The Book of Hours website of Les Enluminures]

God the Father with symbols of the four Evangelists in the corners

Annunciation

Visitation; in the lower margin, soldier with arms of Malet de Graville

Betrayal in the garden

Pentecost

Nativity

Annunciation to the shepherds

Adoration of the Magi

Flight into Egypt

Assumption of the Virgin

David killing Goliath

Job on the dunghill*

Gnadenstuhl

(Gnadenstuhl translates from the German Lutheran bible as The Mercy Seat: Christian iconography representing the Holy Trinity: God the Father holds Jesus on the cross, while the dove as a symbol of the Holy Spirit hovers over it)

The elegant illuminated manuscript featured here is thought to have been produced in France in ~1480 for a member of the family of Malet de Graville [W]. Only the first image up top has been cropped back (slightly) from the full page display; the images are otherwise unaltered.

The leaves above come from HM 1163 (Book of Hours, use of Paris): a manuscript owned by The Huntington Library, California and displayed online through the multi-institutional Digital Scriptorium.
Guide/description of the manuscript and individual leaves.
Structure of a Book of Hours (very much worth looking around this site)
Metafilter post on the Hours produced by Simon Vostre.
Previously: Bedford Style Book of Hours -<>- Le Livre d'Heures d'Isabeau de Roubaix (and possibly more) & in general: Illuminated posts on BibliOdyssey.
Elsewhere: Pinboard -<>- Delicious -<>- Twitter.

Isidro Velázquez Designs

2012-11-09T22:33:00.002+11:00

Spanish 18th & 19th century

Architectural Sketches &c.

Alzado de la Fuente de Narciso

Elevation of the Fountain of Narcissus (Aranjuez, Spain)

Media planta y alzado de la Fuente de Ceres

Media plan and elevation of the Fountain of Ceres*

(*Roman Goddess of agriculture)

Alzado de la Fuente de Venus

Elevation of the Fountain of Venus

Planta de la Fuente de Venus

Plan of the Fountain of Venus

Alzado de la Fuente de Hércules y Anteo

Elevation of the Fountain of Hercules and Antaeus*

(*Antaeus, in Greek mythology: giant son of Poseidon and Gaia)

Planta y alzado de la Fuente de Apolo

Plan and elevation of the Fountain of Apollo

Arabesco de una ventana de las logias de Rafael en el Vaticano

Window arabesque by Raphael from the Vatican Loggia

{Groteskology has some recent photographs}

Templo de Vesta en Tívoli Descripción del Templo

de Vesta Vulgarmente Llamado de la Sibila

The Temple of Vesta^ at Tivoli, Italy

said to be dedicated to The Tiburtine Sibyl^

Embarcadero del estanque grande

del Retiro. Fachada al Estanque.

{?} Waterfront retreat with

pond/moat water level overlay.

Embarcadero del estanque grande del Retiro.

Fachada a los Jardines

{?} Waterfront retreat:

garden-side profile.

Embarcadero del estanque grande del Retiro. Corte transversal.

{?} Waterfront retreat cross-section.

Embarcadero del estanque grande del Retiro

{?} Waterfront retreat

Diseño de uno de los tres Templos que subsisten en la antigua

Ciudad de Pesto la que anteriormente pertenecía a la Provincia de la

Lucania y hoy á Salerno Ciudad del Reyno de Napoles

~Design of one of the three remaining temples in the ancient city of

Pesto which previously belonged to the province of Salerno

and today Lucania Town Kingdom of Naples

Proyecto del Salón para el Congreso de Cortes.

Secciones transversales hacia la tribuna y hacia el dosel del trono

~Project for the Congress Hall of Cortes:

cross sections of the grandstand and canopy seating

Fachada principal de la Casa del Labrador^

Main facade of the Casa del Labrador

(looks like an early design sketch)

[all these cropped images have been moderately cleaned of background stains}

Isidro González Velázquez (1765-1829) was a Spanish architect (and second son of the painter Antonio González Velázquez). According to the inclinations of the artistic dynasty to which he belonged, Isidro joined the studios of the Architecture Academy of San Fernando as a disciple of Juan de Villanueva.

Isidro Velázquez finished his training in 1790 and, supported by Carlos IV, travelled through France, Italy and Greece, studying the objects and monuments of classical antiquity before returning to Spain in 1795.

In 1799, Isidro Velázquez worked as an academic and was listed as the 'Deputy Chief Architect of the royal palaces and country houses of the King'. He is thought to have been responsible in ~1803 for the external decoration of the new royal residence at Aranjuez: the Casa del Labrador^ {see last image above}. Velázquez engaged in further work for the King by contributing to the Royal Canal project in the Madrid sections of the Mazarenes river.
[Paraphrased from a garbled translation of the Wikipedia article: there is more to his story - he designed theatres / obelisk etc - but the translation breaks down hereabouts]

The Velázquez images all come from *Collection of 18th Century Architectural and Ornamental Feature drawings*, Biblioteca Digital Hispanica, as part of Biblioteca Nacional de España. There are about 40+ drawings available. [if that's not a perma-link, search on "Velázquez, Isidro" here] {also available via Europeana}
Collection homepage of the Biblioteca Digital Hispánica.
The Velázquez sketches are alternatively available via this portal: Biblioteca Digital del Patrimonio Iberoamericano [launched in Sept. 2012, it allows access to the digital collections from the national libraries of Spain, Portugal, Brazil, Chile, Colombia and Panama so far]
The Wikipedia article is sourced from a piece in the Spanish language web publication, 'Great Encylopaedia Rialp'.
Previously: architecture -<>- Spain.

Atlas Title Page Redux TWO

2012-11-04T02:56:00.000+11:00

Illustrations of decorative atlas front matter pages

sourced from the incomparable Rumsey site [see Part ONE]

Title: An Illustrated Atlas, Geographical, Statistical, And Historical, Of The United States And The Adjacent Countries
Author: TG Bradford
Date: 1838
Notes: This is Bradford's best atlas, far superior to the smaller and more crudely drawn Comprehensive Atlas. The maps are engraved by G.W. Boynton, except for Mississippi, which is engraved by S. Stiles, Sherman and Smith. There is a beautifully illustrated, engraved second title page in full hand-painted colour.

Title: A General Atlas Of The World, With A Separate Map Of Each Of The United States Of America
Author: TG Bradford & SG Goodrich
Date: 1841
Notes: This is the Bradford 1838 Illustrated Atlas, without the text and with the addition of ten maps: two hemispheres, South America, Atlantic Ocean, Europe (3), Africa, Asia, and Pacific Ocean. Why Bradford's name is dropped is a mystery, although Goodrich in 1842 issued a new edition of the Illustrated Atlas with Bradford that retains the text and adds the same new maps that are added here. However, many of the maps in this 1841 edition are somewhat different from the 1838 and 1842 editions, with the usual changes in counties, etc.

Title: A New General Atlas, Constructed from the latest Authorities, By A. Arrowsmith, Hydrographer to the Prince Regent, Exhibiting The Boundaries And Divisions, Also The Chains of Mountains and other Geographical Features Of All The Known Countries In The World; Comprehended In Fifty Three Maps From Original Drawings
Author: Aaron Arrowsmith
Date: 1817
Notes: This complete atlas features an index and 53 copperplate maps, drawn by Arrowsmith and engraved by Sidney Hall, with a few engraved by Thomson in collaboration with Hall. The maps include two of the world, 29 related to Europe and Scandinavia, 16 on Asia, Africa, and Oceania, and six related to the Americas. The United States map shows Georgia extending from the coast to the Mississippi River. The area west of the Mississippi is blank and labeled Louisiana. The engraved title page features [the Greek God] Atlas holding up a globe above two putti. One putto sails in a dinghy and the other is studying with cartographic tools. {The reddish--rose coloured shading on the letterforms appears to be later watercolour vandalism}

Title: Atlas National De La France
Author: Victor Levasseur
Date: 1856
Notes: Lavishly illustrated (steel engraving) title page margins showing heroes, battles, weaponry, and cherubs. This atlas is noteworthy for its beautiful illustrations in the borders of the maps. It was one of the last of the decorative map atlases of the 19th century.

Title: Atlas moderne ou collection de cartes sur toutes les parties du globe terrestre ar plusieurs auteurs Avec approbation & privilege du Roy. A Paris, Chez Lattre Graveur Ordinaire du Roy, de Mgr. Le Duc d'Orleans et de la Ville Rue St. Jacques No. 20. et Delalain Libraire, rue de la Comedie Francoise. Monnet del. 1762. Prevost Sculp. Pub Reference
Author: Ribogert Bonne & Jean Lattre
Date: 1791
Notes: Maps by Bonne, Janvier, & Rizzi Zannoni. Late edition which includes important maps of the United States, British America, and Mexico which do not appear in the earlier editions.

Title: A New General Atlas Comprising a Complete Set of Maps, representing the Grand Divisions Of The Globe, Together with the several Empires, Kingdoms, and States in the World; Compiled from the Best Authorities, and corrected by the Most Recent Discoveries
Author: Anthony Finley
Date: 1824

Title: Atlas minor: or a new and curious set of sixty-two maps, in which are shewn all the empires, kingdoms, countries, states, in all the known parts of the earth; with their bounds, divisions, chief cities & towns, the whole composed & laid down agreable to modern history
Author: Thos. & John Bowles
Date: 1736
Notes: Contains 62 hand col. double-page engraved maps (10 folding). The maps in the third ed. are similar to those of the 2nd, except that a number of the American maps contain added place names. Like most of Moll's works, the majority of the maps are undated [but include] a map of America showing California as an island.

Title: Atlas fisico y politico, Republica de Venezuela
Author: Agustin Coduzzi
Date: 1859
Notes: This is the first national atlas of a South American country listed in Phillips. It is also an early example of the use of lithography in atlases, predating the first North American lithographed atlas (Mitchell) by six years. There are 30 full colour detailed political and physical maps on 18 sheets. In addition to the maps, there is a beautiful lithographed title page and a striking mountains and rivers plate.

Title: Atlas de Filipinas. Coleccion de 30 Mapas. Trabajados por delineantes filipinos bajo la direcion del P. Jose Algue, S.J., Director del Observatorio de Manila
Author: Jose PAlgue; U.S. Coast and Geodetic Survey
Date: 1899
Notes: Maps drawn in Phillipines, published in U.S.

Title: A New Universal Atlas Containing Maps of the various Empires, Kingdoms, States and Republics Of The World. With a special map of each of the United States, Plans of Cities &c. Comprehended in seventy sheets and forming a series of One Hundred And Seventeen Maps, Plans And Sections
Author: HS Tanner
Date: 1836
Notes: This atlas was published by Tanner to reach a broader market (i.e. less expensive) than his earlier large format American Atlas, with smaller pages and expanded coverage of non American areas. It was first issued in parts, beginning in 1834.

Title: Atlas classique et universel de geographie ancienne et moderne, contenant les decouvertes et les divisions les plus nouvelles dans les cinq parties du monde pour servir a la lecture des voyages, des ouvrages historiques et des meilleurs traites de geographie
Author: J Andriveau-Goujon
Date: 1850
Notes: Has the 5 wonderful Solar System plates. Large paper copy. Plates hand coloured.

Title: An illustrated historical atlas of the State of Minnesota. {view of} Lake Emily, Minn. near St. Peter [Le Sueur Co.]
Author: AT Andreas
Date: 1874
Notes: Hand painted and printed in full colour.

Title: Atlas du voyage de La Perouse
Author: Jean-Francois de Galaup, Comte de La Perouse
Date: 1797
Notes: Engraved, illustrated title page. Some figures looking at unfolding map entitled: Developement de la route de La Perouse. La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were published.

Title: An Illustrated Historical Atlas Of LaPorte Co. Indiana. Compiled Drawn & Published from Personal Examinations & Surveys by Higgins, Belden & Co.
Author: Higgins, Belden & Co.
Date: 1874
Notes: Many views, several of which have extensive biographical text with them. Higgins, Belden & Co. published five county atlases, all in Indiana. This is one of the most elaborate and attractive county atlases we have seen. Full colour. At the end is a full printed colour Rand McNally folding map of the United States which has appeared in several county atlases and other atlases and gazetteers of the period.

Title: An Atlas of the World, Comprehending Separate Maps of its various Countries, Constructed & drawn from the latest Astronomical & Geographical Observations
Author: James Wyld
Date: 1864
Notes: A late edition of this atlas, published as early as 1836 (see our copy). Several new maps of Australia and South Africa are added and the other maps have been updated to show railroad development. The American maps have been updated, but inadequately so in the West - the River Buenaventura is still flowing out of Salt Lake on the Mexico Map. Maps in colour.

Title: Allgemeiner Schulatlas
Author: August Ruhle von Lilienstern
Date: 1825
Notes: Lavishly illustrated title page with scenes from the natural world including rattle snakes, palm trees, volcano and tropical plants. Includes cultural features such as ships, the sphinx, and a hachured relief map of Iceland outlined in teal colour. In German. Remarkable for "the most fantasy-rich title page to be found in any German atlas" (Espenhorst). This atlas is, according to the author, Ruhle von Lilienstern, "expressly designed for use in the schools" and was ahead of its time in depicting hydrography and topography without place names and cultural or political features. The author's motivation was to use an effective presentation style for surface terrain. The rendering of relief was particularly innovative and precedent setting. Unfortunately, this atlas was not embraced by teachers, who remained focused on the political aspects of geography. Nonetheless, Ruhle was devoted to military and public geographic education and he had, according to Espenhorst, the goal "to create in the Prussian people the spirit, the will, and the capability to participate in war." The atlas also suffered from flights of fancy on filling in unexplored regions of the earth, a practice which lead to criticism and which detracted from the outstanding physiographic or oro-hydrographic depictions. The author was also one of the first to employ lithography to produce large format atlases. As a general, writer and diplomat, he was very successful. While his success as a cartographer was challenged, his contributions are certainly noteworthy.

Title: An atlas of the State of New York, containing a map of the State and of the several counties ... under the superintendance & direction of Simeon DeWitt, Surveyor General, pursuant to an Act of the Legislature, and also the physical geography of the State & of the several counties & statistical tables of the same
Author: DH Burr
Date: 1829
Notes: This atlas is the second atlas published in the 19th century of one of the individual states in the U.S., preceded only by Mill's Atlas of South Carolina, issued in 1825, and followed closely, also in 1829, by Greenleaf's Atlas of the State of Maine.

Title: Allgemeiner Hand-Atlas der Erde und des Himmels nach den besten astronomischen Bestimmungen, neuesten Entdeckungen und kritischen Untersuchungen entworfen
Author: Geographisches Institut (Weimar, Germany)
Date: 1856
Notes: Maps by C.F. Weiland, H. Kiepert. All maps engraved, dated variously from 1846 to 1856. This is a marvelous atlas, full of interesting details - the U.S. maps refer to "Utah Territory - Deseret." Most maps with outline colour.

Title: A.T. Andreas' illustrated historical atlas of the State of Iowa.
Author: AT Andreas (Andreas Atlas Co.)
Date: 1875
Notes: Illustrated lithographed title page. State Capitol view measures 22 x 28 cm. (inside borders).

Title: A New American Atlas Containing Maps Of The Several States of the North American Union, Projected and drawn on a Uniform Scale from Documents found in the public Offices of the United States and State Governments, and other Original and Authentic Information
Author: HS Tanner
Date: 1823
Notes: The first edition with the earliest states of all the maps. Many believe this to be the finest atlas published in the United States in the 19th century. The text essay is a wonderful compilation of information on the contemporary maps that Tanner used as sources. Tanner updated the maps frequently over the next two decades, and issued several editions or compilations of the atlas with the title pages.

Title: A General Atlas, Of All The Known Countries In The World
Author: Fielding Lucas Jr.
Date: 1822
Notes: This is a very unusual Lucas atlas - according to Foster, only two copies are known. The engraved title page shows a globe and books on a table, with pages open listing Lucas' products: "Drawing Materials of every kind, Paper of all sizes, Mathematical Instruments, Globes, Maps, and Atlases of every description suitable for Colleges and Schools constantly for sale by the Publisher."

Title: A General Atlas, Containing Maps illustrating some important periods in Ancient History; and distinct Maps of the several Empires, Kingdoms and States In The World, From Original Drawings according to the latest Treaties by J. Wyld and Engraved by N.R. Hewitt. Edinburgh, Printed for John Thomson & Co for Baldwin, Cradock & Joy, London & John Cumming, Dublin.
Author: James Wyld (nb. see above) & John Thompson
Date: 1824
Notes: This is the second edition and includes the extra map of the Arctic and two extra maps of Australia. The text adds a section on Voyages of Discovery. Two additional maps are laid in, one of South America, the other of Mexico. {nb. another title page from Wyld ~7 images up}

Title: (Half Title Page to) Johnson's New Illustrated (Steel Plate) Family Atlas, With Descriptions, Geographical, Statistical, And Historical. Compiled, Drawn, and Engraved Under The Supervision Of J.H. Colton And A.J. Johnson. New York
Author: AJ Johnson
Date: 1860
Notes: Title on page reads "American Atlas" and is accompanied by an illustration of Indian on a bluff overlooking a river, town and homestead. 1st Edition, 1st issue. Most of the maps come from Colton's 1859 edition of the General Atlas, published by Johnson and Browning.

{The images have been cropped from their source files but are otherwise

unaltered. The notes are lightly edited quotes from the source site}

All these images come from the wonderful David Rumsey Maps site.
Mr Rumsey was interviewed during the week for a PBS segment on digital mapping as noted (and embedded) on the Rumsey blog.
Please see the earlier post on this topic - Atlas Title Pages Redux ONE - for some interesting background links.
Previously, in general: cartography.

Something I've been wondering this last week or so: are there other digital philanthropists comparable to David Rumsey (whom I seem to recall describing hereabouts as a hero previously)?? I know there are longstanding bequests through universities etc that are used to place cultural material online, but are there contemporary people out there funding digitisation projects, specifically, as Rumsey does?? Do institutions lobby potential benefactors for support on single projects or particular subjects?? I have no idea.