Search results for ""Bodleian Library""

‘High from the earth I heard a bird’ - Emily Dickinson Eric Fitch Daglish (1892-1966) was a wood engraver, writer and illustrator. His book 'Woodcuts of British Birds' was published in 1925. Daglish learnt the art of wood engraving from Paul Nash and became known for his illustrations of the natural world. He illustrated an edition of Gilbert White’s 'Natural History of Selborne' and he both wrote and illustrated several books on natural history, including 'Birds of the British Isles', 1948. Beautifully produced in hardback with lined paper and ribbon marker, this makes a perfect gift for bird watchers and nature lovers.

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What is life? This was a question of particular concern for Mary Shelley and her contemporaries. But how did she, and her fellow Romantic writers, incorporate this debate into their work, and how much were they influenced by contemporary science, medicine and personal loss? This book is the first to compile the many attempts in science and medicine to account for life and death in Mary Shelley’s time. It considers what her contemporaries thought of air, blood, sunlight, electricity and other elements believed to be most essential for living. Mary Shelley’s (and her circle’s) knowledge of science and medicine is carefully examined, alongside the work of key scientific and medical thinkers, including John Abernethy, James Curry, Humphry Davy, John Hunter, William Lawrence and Joseph Priestley. Frankenstein demonstrates what Mary Shelley knew of the advice given by medical practitioners for the recovery of persons drowned, hanged or strangled and explores the contemporary scientific basis behind Victor Frankenstein’s idea that life and death were merely ‘ideal bounds’ he could transgress in the making of the Creature. Interweaving images of the manuscript, portraits, medical instruments and contemporary diagrams into her narrative, Sharon Ruston shows how this extraordinary tale is steeped in historical scientific and medical thought exploring the fascinating boundary between life and death.

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Since 1621, and the foundation of the Oxford Botanic Garden, Oxford has built up an outstanding collection of plant specimens, botanical illustrations and rare books on plant classification, collecting and plant biology. These archives, and the living plants in the Garden, are integral to the study of botany in the University. This book profiles the botanists and collections which have helped to transform our understanding of the biology of plants over the past four centuries, focusing on plant classification, experimental botany, building botanical collections, agriculture and forestry and botanical education. Highlights include a selection of Ferdinand Bauer’s renowned illustrations for Flora Graeca – an extraordinarily lavish and detailed eighteenth-century botanical publication of plants found in the Eastern Mediterranean – and rare plant specimens from the herbaria, such as Fairchild’s Mule (the first artificially created hybrid plant). Together with seventeenth-century herbals, elegant garden plans, plant models and fossil slides, these items from the archives all help to tell the story of botanical science in Oxford and the intrepid botanists who devoted themselves to the essential study of plants.

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Many important and valuable rare books, manuscripts and artefacts related to Korea have been acquired by donations throughout the long history of the Bodleian Libraries and the museums of the University of Oxford. However, due to an early lack of specialist knowledge in this area, many of these Korean items were largely neglected. Following on from the publication of the first volume of these forgotten treasures, this book collects together further important and often unique objects. Notable items include the only surviving Korean example of an eighteenth-century world map, hand-drawn, with a set of twelve globe gores on a single sheet; rare Korean coins and charms including excellent examples of the 1423 Chosŏn t’ongbo 朝鲜通寶; official correspondence from the archives of the United Society for the Propagation of the Gospel, shining a light on the history of Christian missions from the opening of Korea in the 1880s until after the Korean War; photographs from the end of the nineteenth century up to the 1960s showing village and street scenes; a rare silk coat with inner armour plates of lacquered hide; a massive iron padlock inlaid with silver character inscriptions, bronze shoes and Nightingale robe; spectacles with dark crystal lenses and frames of horn; an elaborately decorated bow, arrows and quiver and many other rare artefacts.

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Oxford Botanic Garden has occupied its central Oxford site next to the river Cherwell continuously since its foundation in 1621 and is the UK’s oldest botanic garden. The birthplace of botanical science in the UK, it has been a leading centre for research since the 1600s. Today, the garden holds a collection of over 5,000 different types of plant, some of which exist nowhere else and are of international conservation importance. This guide explores Oxford Botanic Garden’s many historic and innovative features, from the walled garden to the waterlily pool, the glasshouses, the rock garden, the water garden and ‘Lyra’s bench’. It also gives a detailed explanation of the medicinal and taxonomic beds and special plant collections. Lavishly illustrated with photographs taken throughout the seasons, this book not only provides a fascinating historical overview but also offers a practical guide to the Oxford Botanic Garden and its work today. Featuring a map of the entire site and a historical timeline, it is guaranteed to enhance any visit, and is also a beautiful souvenir to take home.

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One day an old lady swallows a fly and the only way she can get rid of it is to swallow a wriggling, tickling spider… For over a century this subversive rhyme has delighted children and parents alike. Its galloping rhythm is perfect for reading out loud, becoming a memory game as the list of animals – bird, cat, dog, goat – grows. Graboff’s bright and startling illustrations combine beautifully with the traditional verse to bring this classic tale to life.

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There are many things cats can do which children can’t, such as lap up milk and use their tongues as combs. There are also a number of things that cats can’t do, like sing children to sleep, or get down from trees… Abner Graboff combines the voice of childhood innocence with a wonderful sense of fun in his quirky book about the mysteries of cats and their secret lives, told from the point of view of a young child. Playful and bold illustrations complement the simple text, inspired by a much-loved family feline.

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Spanning the Islamic world, from ninth-century Baghdad to nineteenth-century Iran, this book tells the story of the key Muslim map-makers and the art of Islamic cartography. Muslims were uniquely placed to explore the edges of the inhabited world and their maps stretched from Isfahan to Palermo, from Istanbul to Cairo and Aden. Over a similar period, Muslim artists developed distinctive styles, often based on geometrical patterns and calligraphy. Map-makers, including al-Khwārazmī and al-Idrīsī, combined novel cartographical techniques with art, science and geographical knowledge. The results could be aesthetically stunning and mathematically sophisticated, politically charged as well as a celebration of human diversity. 'Islamic Maps' examines Islamic visual interpretations of the world in their historical context, through the lives of the map-makers themselves. What was the purpose of their maps, what choices did they make and what was the argument they were trying to convey? Lavishly illustrated with stunning manuscripts, beautiful instruments and Qibla charts, this book shows how maps constructed by Muslim map-makers capture the many dimensions of Islamic civilisation, providing a window into the worldviews of Islamic societies.

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'Novel Houses' visits unforgettable dwellings in twenty legendary works of English and American fiction. Each chapter stars a famous novel in which a dwelling is pivotal to the plot, and reveals how personally significant that place was to the writer who created it. We discover Uncle Tom’s Cabin’s powerful influence on the American Civil War, how essential 221B Baker Street was to Sherlock Holmes and the importance of Bag End to the adventuring hobbits who called it home. It looks at why Bleak House is used as the name of a happy home and what was on Jane Austen’s mind when she worked out the plot of Mansfield Park. Little-known background on the dwellings at the heart of Emily Brontë’s Wuthering Heights, Mervyn Peake’s Gormenghast and Stella Gibbon’s Cold Comfort Farm emerges, and the real life settings of Daphne du Maurier’s Rebecca and E.M. Forster’s Howards End, so fundamental to their stories, are shown to relate closely to their authors’ passions and preoccupations. A winning combination of literary criticism, geography and biography, this is an entertaining and insightful celebration of beloved novels and the extraordinary role that houses grand and small, imagined and real, or unique and ordinary, play in their continuing popularity.

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We’re all familiar with ‘a flock of sheep’ but what are the collective nouns for racehorses, pigs, zebras or giraffes? Drawing on a range of sources, from fifteenth-century hunting terms to more recent inventions that have now entered the language, this book collects over 100 examples of the most interesting collective nouns for animals, each illustrated with charming woodcuts by the renowned naturalist engraver of the eighteenth century, Thomas Bewick. Some describe a key characteristic of the animal in question: ‘a shrewdness of apes’, ‘a busyness of ferrets’. Others are delightfully humorous: ‘a piddle of puppies’, ‘a crash of rhinoceroses’. Featuring pets, farmyard animals, big cats and wild beasts, this beautifully presented book is the perfect gift for animal lovers and all those with an interest in this quirky linguistic tradition.

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The horror of the First World War brought out a characteristic response in a group of English artists, who resorted to black humour. Among these, John Hassall, a pioneering British illustrator and creator of the influential 'Skegness is so bracing' poster, holds a special place. Early in the war, he hit on the idea of drawing a parody of the Bayeux Tapestry to satirize German aggression and add to the growing genre of war propaganda. Taking the scheme of the famous tapestry which celebrates William the Conqueror’s invasion of England, Hassall uses thirty pictorial panels to tell the story of Kaiser Wilhem II’s invasion of Luxembourg and Belgium. In mock-archaic language he narrates the progress of the German army, never missing an opportunity to lampoon ‘bad’ behaviour: ‘Wilhelm giveth orders for frightfulness.’ The caricatured Germans loot homes, make gas from Limburg cheese and sauerkraut, drink copious amounts of wine and shamefully march through Luxembourg with ‘women and children in front.’ With comic inventiveness Hassall adapts the borders of the original to illustrate the stereotypical objects with which the English then associated their enemy: they are decorated with schnitzel, sausages, pilsner, wine corks and wild boar. Drawn with Hassall’s distinctive flat colour and striking outlines, Ye Berlyn Tapestrie is a fascinating historical example of war-induced farce, produced by a highly talented artist who could not then have known that the war was set to last for another two years. Together with an introduction which sets out the historical background of its creation, every page of this rarely seen publication is reproduced here in a fold-out concertina, just like the original, to resemble the style of the Bayeux Tapestry.

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Did you know that coffee was recommended as protection against the bubonic plague in the seventeenth century? Or that tea was believed to make men ‘unfit to do their business’ and blamed for women becoming unattractive? On the other hand, a cup of chocolate was supposed to have exactly the opposite effect on the drinker’s sex life and physical appearance. These three beverages arrived in England in the 1650s from faraway, exotic places: tea from China, coffee from the Middle East and chocolate from Mesoamerica. Physicians, diarists and politicians were quick to comment on their supposed benefits and alleged harmfulness, using newspapers, pamphlets and handbills both to promote and denounce their sudden popularity. Others seized the opportunity to serve the growing appetite for these newly discovered drinks by setting up coffee houses or encouraging one-upmanship in increasingly elaborate tea-drinking rituals. How did the rowdy and often comical initial reception of these drinks form the roots of today’s enduring caffeine culture? From the tale of the goatherd whose animals became frisky on coffee berries to a duchess with a goblet of poisoned chocolate, this book, illustrated with eighteenth-century satirical cartoons and early advertisements, tells the extraordinary story of our favourite hot drinks.

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Wilfred Owen is the poet of pity, the voice of the soldier maimed, blinded, traumatised and killed, not just in the Great War, but in all wars since, so resonant has his message become. Although he saw only five of his poems published in his lifetime, he left behind a portfolio of poetry and letters that created a powerful legacy. This generously illustrated book tells the story of Wilfred Owen’s life and work anew, from his birth in 1893 until his death one week before the Armistice on 4 November 1918. It chronicles Owen’s journey from a romantic youth, steeped in the poetry of Keats, to mature soldier awakened to the horrors of the Western Front. Drawing on rich archival material such as personal books, artefacts, family photographs and numerous manuscripts, the volume takes a fresh look at Owen’s apprenticeship and eventual mastery of poetry, giving a comprehensive view of the relationship between his lived experience and his writing. Those already familiar with or well-versed in Owen's work will find new material in this book, and those coming to Owen for the first time will enjoy a well researched, yet accessible, illustrated introduction to one of the twentieth century's greatest poets.

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The origins of the game of rugby and the codification of the rules which defined the game have been glorified in numerous legends, some of which are little more than sporting hagiography. Following on from the success of The Rules of Association Football 1863 and in time for the Rugby World Cup in September – October 2007, this book investigates the origins of the game of rugby and reproduces for the first time in a single book both the first rules of the game, drawn up at Rugby School in 1845 and the first rules of the Rugby Football Union, published in 1871. The introduction by Jed Smith, the curator of the Rugby Football Museum in Twickenham, will provide the first systematic exploration of the origin of the rules of the game and their development. Includes images from the unique manuscript held at the Rugby Football Union as well as nineteenth-century illustrations of the game as it was first played, capturing its early spirit and enthusiasm.

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Queen Elizabeth’s Book of Oxford was made in 1566 as a gift for Elizabeth I on the occasion of her first royal visit to Oxford. It was made, however, not just out of reverence for the Queen, but with the aim of getting her to endow the foundation of a new college. This sophisticated tour guide is presented as a dialogue between the Queen and her guide, in which the monarch asks questions which allow the guide to extol the generosity of the founders of each college they visit. The book failed. Queen Elizabeth founded no new institutions, but the exercise has left us with a fascinating insight into ideas of patronage and endowment in Elizabeth’s day. This unique manuscript contains a Latin verse account of the famous buildings of the University illustrated by a series of beautiful pen drawings, and conceived by its scholarly producers as an imaginary progress through these locations. The complete manuscript is now made available for the first time in actual-size facsimile with full-text translation, a commentary on the images, and an analytical essay which places the manuscript in its historical context.

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Shepherd Mead, bestselling author of How to Succeed in Business without Really Trying, came to live in England with his family in 1958. Six years later he published a satirical handbook for fellow Americans to guide them through the nuances of British culture and save them from blunders: ‘Write down now that pants always mean underpants’, he advises. ‘What you wear out in the open are trousers. Mistakes in this area can lead to nasty misunderstandings.’ Structured around the fictional experience of an American couple Peggy and Buckley Brash and their two children, the book covers such topics as ‘How to Dress in England’, ‘The Dream House and How to Rebuild it’, and ‘How to Live with the Upper Classes Without Having Any Money’. Through the Brash family’s encounters with the British and their bewildered conversations with each other as they attempt to interpret an alien way of life, Mead answers pertinent questions such as ‘Do English schools create sex madness?’ and ‘Is England really a pest hole?’ with quirky and affectionate humour. Written with the light touch and incisive wit which brought Mead such success with his earlier book, and deftly illustrated with dynamic cartoons, How to Live Like A Lord without Really Trying is packed with gems on Anglo-American differences and pithy advice which tells us as much about the British of the 1960s as it does about their visitors from across the Pond.

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The locations of Shakespeare’s plays range from Greece, Turkey and Syria to England, and they range in time from 1000 BC to the early Tudor age. He never set a play explicitly in Elizabethan London, which he and his audience inhabited, but always in places remote in space or time. How much did he – and his contemporaries – know about the foreign cities where the plays took place? What expectations did an audience have if the curtain rose on a drama which claimed to take place in Verona, Elsinore, Alexandria or ancient Troy? This fully illustrated book explores these questions, surveying Shakespeare’s world through contemporary maps, geographical texts, paintings and drawings. The results are intriguing and sometimes surprising. Why should Love’s Labour’s Lost be set in the Pyrenean kingdom of Navarre? Was the Forest of Arden really in Warwickshire? Why do two utterly different plays like The Comedy of Errors and Pericles focus strongly on ancient Ephesus? Where was Illyria? Did the Merry Wives have to live in Windsor? Why did Shakespeare sometimes shift the settings of the plays from those he found in his literary sources? It has always been easy to say that wherever the plays are set, Shakespeare was really writing about human psychology and human nature, and that the settings are irrelevant. This book takes a different view, showing that many of his locations may have had resonances which an Elizabethan audience would pick up and understand, and it shows how significant the geographical and historical background of the plays could be.

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Janet Stone’s photograph albums feature informal portraits from the mid-twentieth century of many of the leading cultural figures and personalities of the day. The wife of the distinguished engraver Reynolds Stone established a kind of literary salon in the idyllic setting of the Old Rectory at Litton Cheney in West Dorset. Here their wide circle of friends could visit, work and flourish as Janet photographed them. Included between these pages are portraits of Benjamin Britten, Peter Pears, John Piper, Iris Murdoch, John Bayley, C. Day-Lewis, Jill Balcon, Kenneth Clark, Freya Stark, Siegfried Sassoon, Willa Muir, Sylvia Townsend Warner and Frances Partridge as well as Janet’s husband Reynolds and her family. Although not a technical photographer, Janet instinctively knew the best moment to click the shutter, thus often capturing her subjects off-guard and at their most informal. In this way we see picnics by the tennis court, John Bayley trying on a headscarf, or a young Daniel Day-Lewis dressed up as a knight. Others are portrayed reading or relaxing in the gardens, drink in hand. These unique portraits give a beguiling insight into a special set of circumstances: an idyllic place and time and a group of people drawn together by two contrasting but complimentary personalities, the shy genius of Reynolds and the outgoing style and glamour of Janet Stone.

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Ralph Ayres was head cook at New College in the 1770s. This book is a fascinating insight into the eighteenth-century kitchen, a period of great interest to social and culinary historians, and includes recipes for famous dishes such as Quaking Pudding, and Oxford Sausages.

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A richly illustrated volume, which reproduces one of the finest collections of eighteenth-century ornithological art in its entirety.

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A highly illustrated book, which reveals the mysteries of writing through examinations of words and ideas that were edited out of renowned novels, poems and plays.

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In 2017, the Government’s attempt to trigger Article 50 and so leave the European Union resulted in a judgement by the Supreme Court, which stated that the Government was unentitled to do so without the consent of Parliament, directly citing the Bill of Rights in its judgement. Ironically, the Bill of Rights, enacted in 1689 to address abuses by the Crown, was successfully invoked in the twenty-first century to curb a perceived abuse by Government, acting in the name of the Crown. Passed shortly after the Glorious Revolution, the Bill sets out the balance of power between Parliament and the Crown, prohibiting the sovereign from levying taxes, recruiting troops or suspending laws without Parliamentary consent. Establishing Parliament as the ultimate source of power in the land and enshrining basic civil rights first set out in Magna Carta but subsequently abridged, the Bill document can justly claim to serve as the origin of Britain’s democracy. Published here with an introduction by Jonathan Sumption providing the historical context of the document and its influence over the centuries – particularly on the United States Bill of Rights – this edition shows how a number of the original clauses find renewed relevance in contemporary events.

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Garry Fabian Miller’s Dark Room is a photography book unlike any other. At its heart is the artist’s description of a life lived making pictures between the dark and the light, a deeply personal account woven against the history of photography from the moment of its birth in the 1830s to its decline, and some would say death, in the digital age almost two hundred years later. It is a memoir that reads at times like a manifesto, at others like a confession; a last testament to the dark room as both a site for the imagination, and a physical space for the alchemy that William Henry Fox Talbot once described as ‘a little bit of magic realised’. Dark Room charts Miller’s work over five decades, shifting from a camera-based practice in early career to the abstract picture making for which he has become internationally recognised, working without a camera to experiment with the possibilities of light as both medium and subject. At its core is the relationship with nature and place that has so sustained his way of life, and specifically with his home on Dartmoor and the cycle of daily walks that have been at the core of his practice for thirty years. The book also features an essay on Miller’s work by his friend the potter and writer Edmund de Waal and technical notes by Martin Barnes, senior photography curator of the Victoria and Albert Museum.

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Oscar Wilde’s children’s stories explore timeless themes of good and evil, freedom and responsibility, love and death, beauty and self-sacrifice. Featuring princesses, ogres and talking animals, the questions they pose are as pertinent now as they were at the turn of the century. What is love? asks ‘The Happy Prince’. How do you get what you need? asks ‘The Nightingale and the Rose’. How do you win friends (and avoid alienating people)? asks ‘The Selfish Giant’. Can you have too much compassion? asks ‘The Devoted Friend’. How can you set the world on fire? asks ‘The Remarkable Rocket’. Wilde’s stories have given pleasure to generations of readers. By turns moving and funny, they gently teach free thinking rather than giving prescriptive lessons. This beautiful collectors’ edition with original watercolour illustrations and decorative motifs from the 1913 edition by Charles Robinson and an introduction by Wilde expert Michèle Mendelssohn is certain to surprise and delight adults and children alike.

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This richly illustrated book explores the huge creative endeavour behind Tolkien’s enduring popularity. Lavishly illustrated with over 300 images of his manuscripts, drawings, maps and letters, the book traces the creative process behind his most famous literary works – 'The Hobbit', 'The Lord of the Rings' and 'The Silmarillion' and reproduces personal photographs and private papers,some of which have never been seen before in print. Tolkien drew on his deep knowledge of medieval literature and language to inform his literary imagination. Six introductory essays cover some of the main themes in Tolkien’s life and work including the influence of northern languages and legends on the creation of his own legendarium; his concept of ‘Faërie’ as a literary construct; the central importance of his invented languages in his fantasy writing; his visual imagination and its emergence in his artwork; and the encouragement he derived from the literary group known as the Inklings. This book brings together the largest collection of original Tolkien material ever assembled in a single volume. Drawing on the archives of the Tolkien collections at the Bodleian Libraries, Oxford, and Marquette University, Milwaukee, as well as private collections, this exquisitely produced catalogue draws together the worlds of J.R.R. Tolkien – scholarly, literary, creative and domestic – offering a rich and detailed understanding and appreciation of this extraordinary author.

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‘A murder of crows’, ‘a charm of goldfinches’, ‘an ostentation of peacocks’: collective nouns for British birds have existed since at least the mid fifteenth century. They are thought to originate in texts about hunting, but have since evolved into evocative, witty and literary expressions, each striving to capture the very essence of the animal they describe. Some are portentous – ‘a conspiracy of ravens’ perfectly evokes this sinister bird – others convey sound, such as ‘a murmuration of starlings’ or ‘a chattering of choughs’. Yet more reflect with a flourish the beauty of the bird itself: what could be more celebratory than ‘a crown of kingfishers’, or ‘an exaltation of larks’? The best of these imaginative expressions are collected here, illustrated with charming woodcuts by Thomas Bewick, the renowned naturalist engraver of the eighteenth century. Featuring songbirds, aquatic birds, birds of prey and garden favourites, this beautifully presented book will delight both bird-lovers and word-lovers in equal measure.

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The art of being a good wife is not an easy one. This little guide was written for the middle classes of the 1930s who were reading one of the first modern self-help books. Illustrated with contemporary line-drawings, it contains advice by turns delightfully arcane and timelessly true, for example: It is a wife’s duty to look her best. If you don’t tidy yourself up, when you have done the bulk of the day’s work, don’t be surprised if your husband begins to compare you unfavourably with the typist at the office. Don’t forget that a wife can always set the standard of behaviour for the home. If she allows laxities of dress or conversation at the table she will soon find that they become a fixed procedure. Don’t forget that very true remark that while face powder may catch a man, baking powder is the stuff to hold him. Don’t criticise the food at your own table when you are entertaining and especially refrain from doing so before the servants. After all is said and done, husbands are not terribly difficult to manage.

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Drawn from the manuscript collections at the Bodleian Library, this delightful softback notebook set features the distinctive handwriting of three remarkable women writers and thinkers: Jane Austen, Mary Shelley and Ada Lovelace. The Library holds part of the manuscript of Jane Austen’s unfinished novel, 'The Watsons', together with the original notebooks in which Mary Shelley wrote 'Frankenstein' and the personal correspondence of mathematical pioneer Ada Lovelace. Inspirational and unusual, these useful literary notebooks make the ideal gift for writers and book-lovers alike.

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Plants and gardens play a central role in life on Earth. They have provided food, clothing, shelter, medicines, employment, leisure and enjoyment throughout history. Both also have many symbolic uses in art, mythology and literature, making plants and gardens the perfect theme for the Designer Bookbinders fourth International Competition held at the Bodleian Library in 2022. The chosen theme also celebrates 400 years since the founding of Oxford Botanic Garden. This beautiful catalogue features richly illustrated texts and finely printed volumes which are bound with skill and creativity using varied materials by binders from all over the world. The fourth in a series following on from 'Bound for Success' in 2009, 'Prize Volumes' in 2013 and 'Heroic Works' in 2017, 'A Gathering of Leaves' is a celebration of the stunningly inventive winning bindings featured alongside all the competition entries.

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The University Archives was established in 1634. Based in the Bodleian Library, it is the institutional archive of Oxford University, holding records which span just over 800 years, documenting the University’s activities and decisions throughout that time. Fifty-two documents and objects from the University Archives are showcased here, telling a wide range of intriguing stories about the University. Arranged chronologically, they deal with the University’s relations with governments and monarchs; the effects of war; teaching and student behaviour; the University’s buildings and institutions; widening access to university education; and the impact it has had on the city of Oxford and its people. Also documented here are fascinating insights into the University’s erstwhile police force, a hidden time capsule, brewing licences, brawls and illicit steeplechasing. The items – all illustrated – also often unlock human stories to which we can relate today, opening a window on the individuals (from University, city, or even further afield) whose lives the University has touched, including people who would perhaps not be expected to feature in a history of Oxford University, but whose stories are preserved forever in its magnificent archives.

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When Marjory Wardrop joined her diplomat brother, Oliver, in Georgia in 1894, they found themselves witnessing the birth pangs of a modern nation. Recognising the significance of these transformative years, they actively participated in the work of Ilia Chavchavadze and other leaders of the independence movement, culminating in Georgia’s declaration of independence in 1918. Becoming increasingly fascinated by Georgian history and culture, the Wardrops gathered a significant collection of manuscripts dating from the eleventh to the twentieth century, including a seventeenth-century manuscript of Georgia’s national epic poem, ‘The Man in the Panther’s Skin’, which Marjory famously translated. A remarkable number of items in the collection, now housed at the Bodleian Library, illuminate an important aspect of medieval and modern Georgia. Through these items – manuscripts, royal charters, correspondence, notebooks and a draft of the 1918 declaration of Independence – Nikoloz Aleksidze narrates a history of Georgian literature and culture, from the importance of epic and folk tales, to the Georgian Church’s battle against persecution, to the political activism of women in Georgia at the end of the nineteenth century. Richly illustrated with rare and previously unpublished images from the collection, this book not only offers a unique insight into Georgian culture and political history and but also tells the remarkable story of an eccentric English diplomat and his talented sister, whose monument now stands outside the parliament building in Tbilisi

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In the summer of 1816, Mary Wollstonecraft Godwin, then eighteen years old, began to write the novel Frankenstein after she and her lover Percy Bysshe Shelley took part in a ghost-story competition at Lord Byron’s villa by Lake Geneva. Over the next nine months -- a period which saw their return to England in autumn 1816 and subsequent marriage -- she (with Percy) drafted the entire novel in a form materially different from the two standard editions of 1818 and 1831 which were based on a later fair copy. Until now, no one has been able to read what Mary Shelley herself initially wrote in this original draft of the novel. Going back to the unique draft manuscript of the text held in the Bodleian Library, Charles E. Robinson has teased out Percy Shelley’s amendments, isolating them from the story in Mary Shelley’s hand. Both texts – with and without Percy’s interventions – are presented in this edition, allowing us for the first time to read the story in Mary’s original hand and also to see how Percy edited his wife’s prose. The results are fascinating. We read a more rapidly paced novel that is arranged in different chapters. Above all, we hear Mary’s genuine voice which sounds to us more modern, more immediately colloquial than her husband’s learned, more polished style. To this day, Frankenstein remains the most popular work of science fiction. This edition promises to redefine the ways we read the story and perceive the act of its creation.

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'The Bay Psalm Book' was the first book to be printed in North America, twenty years after the arrival of the Pilgrim Fathers in Massachusetts. Now extremely rare – only eleven copies survive – it is also the most expensive book in the world, fetching over $14.2 million at auction. Worship in the ‘mother tongue’ and congregational hymns had become key tenets of Puritanism following the Reformation. New England Puritans were unhappy with contemporary translations of the Psalms and decided that they needed their own version, which would better represent their beliefs. A team of writers in the Massachusetts Bay settlement, including John Cotton and Richard Mather, set about translating the psalms into English from the original Hebrew, and setting the lyrics to a metre so that they could easily be sung in congregation. The resulting translation, 'The Whole Booke of Psalmes Faithfully Translated into English Metre,' was published in 1640 on a printing press brought over from Surrey. It became known as the Bay Psalm Book after the name of the colony that was home to its translators. Every page of this extraordinarily influential book, including the translators’ preface, is faithfully reproduced here, complete with original printer’s errors and binding marks. An introduction by Diarmaid MacCulloch sets the book in context and explains how this unassuming Psalter came to have a profound effect on the course of the Protestant faith in America. This edition is made from the original held at the Bodleian Library, one of the best preserved of the surviving copies, despite its accidental submersion in the river Thames in 1731, when the barge carrying it to Oxford unexpectedly sank.

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At the turn of the fifteenth century, private devotionals became a speciality of the renowned Ghent–Bruges illuminators. Wealthy patrons who commissioned work from these artists often spared no expense in the presentation of their personal prayer books, or ‘books of hours’, from detailed decoration to luxurious bindings and embroidery. This enchanting illuminated manuscript was painted by the Master of the David Scenes in the Grimani Breviary (known as the David Master), one of the renowned Flemish illuminators in the sixteenth century. Every page of the manuscript is exquisitely decorated. Fine architectural interiors, gorgeous landscapes and detailed city scenes, each one depicting a narrative, form the subjects of three full-size illuminations and forty-two full-page miniatures. There are floral borders on a gold ground or historiated borders in the Flemish and Italian style on every page. It is one of the finest examples of medieval illumination in a personal prayer book and the most copiously illustrated work of the David Master to survive. The manuscript owes its name to the French Queen, Marie de Medici, widow of King Henri IV. For a time she went into exile in Brussels, where she is thought to have acquired the manuscript before moving again to Cologne. An inscription in English states that she left the book of hours in this city, and it is here that an English manuscript collector, Francis Douce, may have acquired the book and eventually donated it to the Bodleian Library. Together with a scholarly introduction that gives an overview of Flemish illumination and examines each of the illustrations in detail, this full-colour facsimile limited edition, bound in linen with a leather quarter binding and beautifully presented in a slipcase, faithfully reproduces all 176 leaves of the original manuscript.

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A haunting anthology of supernatural stories and the macabre by well-known authors of gothic novels, folklore and fairy tales, each featuring a chillingly striking black-and-white illustration.

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Marley’s ghost, Bob Cratchit’s slide down icy Cornhill, Mr and Mrs Fezziwig’s dance, and of course Ebenezer Scrooge himself, are all exquisitely illustrated in this luxury collector’s edition of Charles Dickens’s perennial seasonal favourite. Arthur Rackham’s colour wash drawings and silhouettes, first published during the First World War, bring a threatening and haunting atmosphere to Scrooge’s story, which contrasts wonderfully with the gifts and games of Belle’s household. Rackham was a leading illustrator in the golden age of book illustration, when groundbreaking techniques for colour printing were developing fast. He illustrated over sixty books and specialized in children’s classics and fairy tales. This landmark edition helped to consolidate the idea of the Dickensian Christmas and the tradition of the Christmas gift book. It is a beautiful version of a classic story, which never ceases to be relevant to our times.

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An extraordinary account of the unique role that Oxford played in the Second World War, drawn from first-hand narratives and material from University and college archives.

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George Orwell’s essay examines the power of language to shape political ideas. It is about the importance of writing concisely, clearly and precisely and the dangers to our ability to think when language, especially political language, is obscured by vague, clichéd phrases and hackneyed metaphors. In it, he argues that when political discourse trades clarity and precision for stock phrases, the debasement of politics follows. First published in Horizon in 1946, Orwell’s essay was soon recognised as an important text, circulated by newspaper editors to their journalists and reprinted in magazines and anthologies of contemporary writing. It continues to be relevant to our own age.

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‘Everything you ever wanted to know about cats in books. A wonderful idea, beautifully executed.’ - Viv Groskop Cats have provided the inspiration for an incredible range of fiction, memoir and poetry, from ancient myths and fables to much-loved children’s books, and from classic tales to contemporary novels. Featuring such famous feline characters as Puss in Boots, Tom Kitten, Pangur Bán, the Cheshire Cat, Macavity, Pluto and Bob the street cat, this light-hearted book is a whirlwind journey through the history of literary cats, uncovering their domestication, early cultural beginnings and religious associations, exploring their roles in different literary genres and revealing some real-life authors’ cats, including those belonging to Edgar Allen Poe, Ernest Hemingway, Patricia Highsmith and Muriel Spark. A section on cats in world literature introduces narrator cats and cat companions from Japan, Eastern Europe, France, Greece, Germany and Finland, demonstrating their enduring worldwide appeal. A must for all cat-lovers, this book celebrates the inspirational connections between our favourite feline friends and the literary imagination.

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Built between 1855 and 1860, Oxford University Museum of Natural History is the extraordinary result of close collaboration between artists and scientists. Inspired by John Ruskin, the architect Benjamin Woodward and the Oxford scientists worked with leading Pre-Raphaelite artists on the design and decoration of the building. The decorative art was modelled on the Pre-Raphaelite principle of meticulous observation of nature, itself indebted to science, while individual artists designed architectural details and carved portrait statues of influential scientists. The entire structure was an experiment in using architecture and art to communicate natural history, modern science and natural theology. 'Temple of Science' sets out the history of the campaign to build the museum before taking the reader on a tour of art in the museum itself. It looks at the façade and the central court, with their beautiful natural history carvings and marble columns illustrating different geological strata, and at the pantheon of scientists. Together they form the world’s finest collection of Pre-Raphaelite sculpture. The story of one of the most remarkable collaborations between scientists and artists in European art is told here with lavish illustrations.

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The vocabulary of past times, no longer used in English, is always fascinating, especially when we see how it was pilloried by the satirists of the day. Here we have Victorian high and low society, with its fashionable and unfashionable slang, its class awareness and the jargon of steam engines, motor cars and other products of the Industrial Revolution. Then as now, people had strong feelings about the flood of new words entering English. Swearing, new street names and the many borrowings from French provoked continual irritation and mockery, as did the Americanisms increasingly encountered in the British press. In this intriguing collection, David Crystal has pored through the pages of the satirical magazine, Punch, between its first issue in 1841 and the death of Queen Victoria in 1901, and extracted the articles and cartoons that poked fun at the jargon of the day, adding a commentary on the context of the times and informative glossaries. In doing so he reveals how many present-day feelings about words have their origins over a century ago.

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At first sight, this intriguing map appears to offer a guide to the pubs of Victorian Oxford, designed in a similar way to tourist maps today. Beerhouses, breweries and other licensed premises are all shown, clustered around a specific part of the city centre. But an explanation on the reverse shows this wasn’t the original intention. Published in 1883 by the Temperance Movement, the map was designed to show how the poorer areas of Oxford were heavily populated with drinking establishments and the text explains the detrimental effect of alcohol on local inhabitants: ‘the result is idleness and ill-health, and very frequently poverty and crime.’ The map also reveals how few ‘drink-shops’ (shown in red) appear in North Oxford, where the magistrates who granted the licences were most likely to live. This unique map was therefore intended to prevent alcohol consumption, while at the same time demonstrating how easy it was to find somewhere to drink. Today, it offers a fascinating insight into the drinking habits of the former citizens of this world-renowned city. 'The Drink Map' is reproduced with the original text and a commentary on the reverse.

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Many people have a love of maps. But what lies behind the process of map-making? How have cartographers through the centuries developed their craft and established a language of maps which helps them to better represent our world and users to understand it? This book tells the story of how widely accepted mapping conventions originated and evolved – from map orientation, projections, typography and scale, to the use of colour, map symbols, ways of representing relief and the treatment of boundaries and place names. It charts the fascinating story of how conventions have changed in response to new technologies and ever-changing mapping requirements, how symbols can be a matter of life or death, why universal acceptance of conventions can be difficult to achieve and how new mapping conventions are developing to meet the needs of modern cartography. Here is an accessible and enlightening guide to the sometimes hidden techniques of map-making through the centuries.

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What would a greengrocer say if you were to ask for half a dozen Grenadiers and a couple of Catsheads? In the course of the past century we have lost much of our rich heritage of orchard fruits, but with taste once again triumphing over shelf-life and a renewed interest in local varieties, we are rediscovering the delights of that most delicious and adaptable fruit: the apple. This book features apples from the Herefordshire Pomona that are still cultivated today. The Pomona – an exquisitely illustrated book of apples and pears – was published at the height of the Victorian era by a small rural naturalists’ club. Its beautiful illustrations and authoritative text are treasured by book collectors and apple experts alike. From the familiar Blenheim Orange and Worcester Pearmain to the less fêted yet scrumptious Ribston Pippin, Margil and Pitmaston Pine Apple, Heritage Apples is illustrated with the Pomona’s stunning paintings and tells the intriguing stories behind each variety, how they acquired their names, and their merits for eating, cooking or making cider. Also including practical advice on how to choose and grow your own trees, this is the perfect book for apple-lovers and growers.

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DIPLOMACY, n. The patriotic art of lying for one's country In 1881 Ambrose Bierce, journalist and former soldier for the Union army in the Civil War, began writing satirical definitions for the San Francisco Wasp, and then for William Randolph Hearst's San Francisco Examiner. Bierce was launched on a journalistic career that would see him liked and loathed in equal measure – and earn him the title of ‘the wickedest man in San Francisco’. In his column, Bierce, a contemporary of Mark Twain, brought his biting black humour to bear on spoof definitions of everyday words, writing deliberate mistranslations of the vocabulary of the establishment, the Church and the politics of his day, and shining a sardonic light on hypocrisy and deception. These columns formed the beginnings of a dictionary, first published in 1906 as The Cynic’s Word Book. Over 100 years later, Bierce’s redefinitions still give us pause for thought – REPORTER, n. A writer who guesses his way to the truth and dispels it with a tempest of words; UN-AMERICAN, adj. Wicked, intolerable, heathenish; POLITICS, n. The conduct of public affairs for private advantage – making for a timely new edition of this irreverent and provocative satire.

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Since its foundation in 1860, the Oxford University Museum of Natural History’s world-renowned collections have become a key centre for scientific study and its much-loved building an important icon for visitors from around the world. The museum now holds over seven million scientific specimens including five million insects, half a million fossil specimens and half a million zoological specimens. It also holds an extensive collection of archival material relating to important naturalists such as Charles Darwin, William Smith, William Jones and James Charles Dale. This lavishly illustrated book features highlights from the collections ranging from the iconic Dodo (the only soft tissue specimen of the species in existence) and the giant tuna (brought back from Madeira on a perilous sea crossing in 1846) to crabs collected by Darwin during his voyage on the Beagle, David Livingstone’s tsetse fly specimens and Mary Anning’s ichthyosaur. Also featured are the first described dinosaur bones, found in a small Oxfordshire village, the Red Lady of Paviland (who was in fact a man who lived 29,000 years ago) and a meteorite from the planet Mars. Each item tells a unique story about natural history, about the history of science, about collecting, or about the museum itself. They give a unique insight into the extraordinary wealth of information and the fascinating tales that can be gleaned from these collections, both from the past and for the future.

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In their celebration of ‘little matters’ – the regular round of visiting, dining out, drinking tea, of reading and walking to the shops and sending to the post – Jane Austen’s letters and novels have many similarities. The thirteen letters collected by Jane Austen’s House Museum, in Chawton, Hampshire and reproduced in this book give us intimate glimpses into her life in Bath and Chawton and on visits to London, many of their details finding echoes in her fiction. 'Jane Austen: The Chawton Letters' traces a lively story beginning in 1801, when, aged twenty-five, Jane Austen left Steventon in Hampshire to move to Bath. Later letters relish the shops, theatres and sights of London, but are interspersed from 1809 with the quieter routines of village life in Chawton, Hampshire, which was to be her home for the remainder of her short life. We learn here of her anxieties for the reception of Pride and Prejudice, her care in planning Mansfield Park and the hilarious negotiations over the publication of Emma. These letters, each accompanied by reproductions from the original manuscripts in Jane Austen’s hand, testify to Jane’s deep emotional bond with her sister: the most moving letter of all is that written by Cassandra only days after Jane’s death in Winchester in July 1817. Brought together in this little book, these artefacts make a delightful modern-day keepsake of correspondence from one of the world’s best-loved writers.

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This collection of essays offers an intimate history of Austen’s art and life told through objects associated with her personally and with the era in which she lived. Her teenage notebooks, music albums, pelisse-coat, letters, the homemade booklets in which she composed her novels and the portraits made of her during her life all feature in this lavishly illustrated collection. By interpreting the outrageous literary jokes in her early notebooks we can glimpse the shared reading activities of Jane and her family, together with the love of satire and home entertainment which can be traced in the subtler humour of her mature work. It is well known that Austen played the piano but her music books reveal how music was used to create networks far more intricate than the simple pleasures of home recital. Examination of Austen’s pelisse-coat tells us something about her physique and, with the lively letters to her sister Cassandra, gives an insight into her views on fashion. The exploration of yet more objects – the Regency novel, newspaper articles, naval logbooks, and contemporary political cartoons – reveals Austen’s filiations with wider social and political worlds. These ‘things’ map the threads connecting her (from India to Bath and from North America to Chawton) to those on the international stage during the wars with France that raged through much of her short life. Finally, this book charts her reputation over the two hundred years since her death, offering fresh interpretations of Jane Austen’s changing place in the world.

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