Dr. Woodard recalled Mr. Reed projecting images of title pages with "Urgent" written in red ink.
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Best of all there are his pretty little drawings done on the title pages of old paperbacks.
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The title pages said that it was "prepared by" a company called Exponent, of Menlo Park, Calif.
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Sponsoring all the Discussion events in the Verizon Theater, the retail giant branded the theater's podium and slideshow title pages.
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I thought it would be fun to compile the relevant scenes, in order; apologies if the video title pages are spoilers!
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At every turn one encounters that iconic, boldly legible signature "Walt Whitman": on title pages, on promotional postcards, even on the bindings of books.
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There are also smart features for adding title pages, importing scripts from other programs, automatically backing up files, working faster with keyboard shortcuts, and lots more.
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The now-classic designs feature HYPERALLERGIC stamped onto the title pages of a few books we love (or love to hate), from Johann Joachim Winkelmann to Rosalind Krauss.
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These comics, aimed at little girls when initially published, have sensational and ridiculous title pages showing characters exploring corrupt worlds before being pulled back into morality by fear, guilt, love, and shame.
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"My Parents: An Introduction/This Does Not Belong to You" has two front covers, two title pages, two copyright pages; the halves have been placed back-to-back rather than sequentially, separated by a series of uncaptioned black-and-white photos of what are presumably Hemon's family.
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Nevertheless, Byrd felt safe enough to reissue both sets with new title pages in 1610.
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However, the regnal year continues to be used on the title pages of the legislature's sessional volumes.
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During the "secretive" period, Diderot accomplished a well-known work of subterfuge. The title pages of volumes 1 through 7, published between 1751 and 1757, claimed Paris as the place of publication. However, the title pages of the subsequent text volumes, 8 through 17, published together in 1765, show Neufchastel as the place of publication.
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Most of the covers, title pages and ex libris decorations were planned and drawn for the firm by Hellmann Mosonyi- Pfeiffer.
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The fourth edition was begun in 1800 and completed in 1810, comprising 20 volumes with 16,033 pages and 581 plates engraved by Andrew Bell. As with the 3rd edition, in which title pages were not printed until the set was complete, and all volumes were given title pages dated 1797, title pages for the 4th edition were sent to bookbinders in 1810, dated that year for all volumes. The editor was Dr. James Millar, a physician, who was good at scientific topics but criticized for being "slow & dilatory & not well qualified". The mathematical articles of Prof.
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See title pages of English Housewifry Her residence there in the 1740s and her long experience of housewifery are almost all that is known about Moxon's life.
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Older prose fictions often have titles which straggle, unthriftily, by mentioning so many unknowns that we forget all of them as we plod down their title-pages.
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One of many title pages for his magnum opus Hedendaagsche historie Isaak Tirion (1705 in Utrecht – 1765 in Amsterdam) was an 18th-century publisher from the Northern Netherlands.
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There is no clear indication that he ever went on to take an Oxford degree and his books do not attribute any degree to him on their title pages.
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Darnton 1995, p.200. This ran the business of libelles underground, and many libellistes relocated to Holland—or affected to on the title pages; there they continued to publish their slander.
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25 Although the nickname Il Bolognese appears on the title-pages of Corelli's first three published sets of works (Opus 1 to 3), the duration of his stay in Bologna remains unclear.
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In the end, roughly 5,000 sets were sold but Black considered himself well-rewarded in intellectual prestige. Title pages for all volumes were printed in 1842 and delivered with the completed set.
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Current Contents was first published in paper format, in a single edition devoted only to biology and medicine. Other subject editions were added later. Initially, it consisted simply of a reproduction of the title pages from several hundred major peer-reviewed scientific journals, and was published weekly, with the issues containing title pages from journal issues only a few weeks previously, a shorter time lag than any service then available. There was an author index and a crude keyword subject index only.
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Pindar Press, 1983. p. 28 In the title pages of his chief writings, Donaldson is described as "Professor of Botany" and "Government Land Drainage Survey."Thomas Seccombe. Donaldson, John (1799-1876) in Sidney Lee.
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Edmund Gurney or GurnayOn the title-pages of his books Gurney spells his name Gurnay, but members of his family are usually described as Gurney. (died 1648) was an English clergyman and anti-Catholic writer.
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The 5 volumes were issued in 25 parts between 1849 and 1861. Title pages of all volumes bear the date of 1861. The type locality is Rio de Janeiro in Brazil. The species is monotypic.
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The first printed books, or incunabula, did not have title pages: the text simply begins on the first page, and the book is often identified by the initial words—the incipit—of the text proper.
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As the Bible progressed, new general title pages were issued in 1811, 1812,1813, and 1823, showing variously Thomas Haydock's Manchester or Dublin locations. Most copies of the complete Bible would include leaves published from both locations.
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It was engraved throughout. The Bible was engraved by John Sturt. In subsequent editions of the Bible the preliminary leaves were changed, and the book dedicated to King William. All the title-pages are dated 1687.
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Allde's widow Elizabeth continued his business from his 1628 death until 1633. Since both Elizabeth and Edward Allde identified themselves on title pages as "E. A." or "E. Allde," 19th-century scholars sometimes confused their works.
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The word vignette means "little vine" in French, and the name of the literary form comes from vignettes, drawings of little vines that nineteenth-century printers used to decorate the title pages and beginnings of chapters.
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The word variorum is Latin for 'of various [persons]' and derives from the phrase cum notis variorum ('with notes by various people') which was often used in the title-pages of Dutch books of the 17th century.
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Stock was born in Antwerp. According to the RKD he is known for title pages, portrait prints and illustrations.Andries Jacobsz. Stock in the RKD He assisted Hendrik Hondius I with engraved portraits in his Effigies of 1610.
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On his title pages his mark was prominently displayed: an eagle displayed atop a globe on a pedestal, flanked by serpents with entwined tails. His heirs continued the press into the 17th century. Rouillé died in Lyon.
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Most controversially, Pavier was somehow involved with William Jaggard in the cryptic False Folio affair of 1619, which involved the publication of ten Shakespearean and pseudo-Shakespearean plays in quarto editions, some with falsified title pages. The early versions of 2 and 3 Henry VI were printed in one volume, titled The Whole Contention Between the Two Famous Houses of York and Lancaster. This volume and four others -- Henry V, Sir John Oldcastle, A Yorkshire Tragedy, and Pericles, Prince of Tyre -- were issued with the initials "T. P." on their title pages.
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The explanation which he gives of his distance from the press may account for some of the variations in his title- pages. His catechism gives the impression that he was an evangelical churchman: his educational works are careful.
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Title pages to volume 1Corpus Catholicorum. The Corpus Catholicorum (Corp. Cath., CCath., CC) is a collection of sixteenth-century writings by the leading proponents and defenders of the Roman Catholic Church against the teachings of the Protestant reformers.
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There is an inscription in Fëanorian characters (Tengwar, an alphabet Tolkien devised for the High-Elves) on the title pages of every History of Middle-earth volume, written by Christopher Tolkien and describing the contents of the book.
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Chambers, Vol. 3, p. 427. Of the four surviving copies of the 1657 edition, three attribute the play to Marlowe on their title pages--but one does not. This fourth copy also includes three dedicatory poems prefacing the play.
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This edition was printed initially in 4 octavo volumes, with no stated publisher or author's name. However they were so thick that they were usually bound in more volumes. There were actually 6 title pages since Vol. 3 and Vol.
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Casting off generally begins by counting the words or characters in the manuscript, usually using a word processor or text editor. This word count is then divided by an estimate of the number of words or characters per full page of a model book, i.e., a previously published book with approximately the same trim size and type specifications to be applied to the manuscript. The editor must then account for anything else that will add pages to the finished book, such as half-title and title pages, the copyright page, part-title pages, chapter openers, photographs, illustrations, charts, tables, or lines of poetry.
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Shakespeare's surname was hyphenated as "Shake- speare" or "Shak-spear" on the title pages of 15 of the 32 individual quarto (or Q) editions of Shakespeare's plays and in two of the five editions of poetry published before the First Folio. Of those 15 title pages with Shakespeare's name hyphenated, 13 are on the title pages of just three plays, Richard II, Richard III, and Henry IV, Part 1.. The hyphen is also present in one cast list and in six literary allusions published between 1594 and 1623. This hyphen use is construed to indicate a pseudonym by most anti- Stratfordians,. who argue that fictional descriptive names (such as "Master Shoe-tie" and "Sir Luckless Woo-all") were often hyphenated in plays, and pseudonyms such as "Tom Tell-truth" were also sometimes hyphenated.. Reasons proposed for the use of "Shakespeare" as a pseudonym vary, usually depending upon the social status of the candidate.
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Kilvert married at the close of 1822 Adelaide Sophia de Chièvre, of French refugee extraction, then living at Clapham, near London. She published in 1841 a work on Home Discipline (reissued with fresh title-pages in 1843 and 1847). They had three daughters.
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Pynson's usage of devices, title-pages, types, and other technical aspects lend support to the common image of him as a highly skilled craftsman and capable businessman who invented nothing but was quite good at improving upon innovations others had made before.
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In 1882 Scott acquired The Tyne Publishing Co., a printing and publishing business that was facing impending bankruptcy.Michael R. Turner, "Title-Pages Produced by the Walter Scott Publishing Co Ltd ", Studies in Bibliography, Vol. 44 (1991), pp. 323-331. Retrieved 19 January 2019.
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Aside from the full-page copperplate illustrations by Gamelin and the engraver Lavalée, the work contains a number of intriguing vignettes on the title pages and elsewhere, which show battle scenes, visitations by death on unsuspecting revelers, and the anatomical artist's studio.
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The Daniells' great work on India, Oriental Scenery, was published in six parts over the period 1795–1808.Oriental scenery (indoislamica.com) It comprised a total of 144 coloured aquatints and six uncoloured title-pages. The cost of a complete set was £210.
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The Folio Bible printed by Baskerville in 1763. Baskerville's first publication, an edition of Virgil. The design shows the smooth, gleaming finish of his paper and minimal title pages. Baskerville's typeface was part of an ambitious project to create books of the greatest possible quality.
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Thomas Seccombe, "Jordan, Thomas" in Dictionary of National Biography. Date retrieved: 5 May 2013. For example, Wit in a Wildernesse was dedicated to at least five different individuals. Jordan frequently reissued both his own and other people's already-published works with new title-pages.
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Some publishers stick with the default numbering of the tool they are using, which is typically to number the first page of the front matter as 1 and all pages after that in a consecutive order. When publishers wish to distinguish between the front matter and the body, the initial title pages are blind folios, the front matter is numbered using lower-case Roman numerals (i, ii, iii...) and the first page of the body or main content begins with 1. The title page of the body, if present, is a blind folio; similarly, any section title pages (e.g., when the body is broken into multiple parts), are blind folios.
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Both subtitles have been used for later editions.Undated title pages of three Dutton editions, displayed at Google Books (books.google.com), show the former subtitle reported as 1925 and 1958, the latter reported as 1968. Chrisman's 16 original stories are written in the style of humorous Chinese folk tales.
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To enhance sales, they were published in books with woodcuts on their title pages that depicted horrific scenes. For instance, the editions published in Nuremberg in 1499 and in Strasbourg in 1500 depict Vlad dining at a table surrounded by dead or dying people on poles.
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Many chapters take place on successive days (for details, see List of Yotsuba&! chapters), so that the series follows, almost literally, the characters' daily lives. The tone can be summarized by the motto, used on chapter title pages and advertising: , or in the original translation, "Enjoy Everything".
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The instrument is blown by a bellows. The qualification "de cour" does not appear in the name for the instrument in original musical scores; title-pages usually refer to it simply as a musette, allowing occasional confusion with the piccolo oboe, also known as the (oboe) musette.
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The complete Works of William Law which appeared in nine volumes were printed for J. Richardson, 1762, London. This collected work consists of various editions of the individual books of William Law. The dates on the individual title pages range from 1753 to 1776.The British Library, London.
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In 1996, with the publication of The Last Pin, by Howard Wandrei, Fedogan & Bremer launched a subsidiary imprint, F & B Mystery. The imprint focuses on mystery and detective fiction. Since title pages list the publisher simply as "F & B Mystery," this has generated some confusion among librarians and bibliographers.
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Originally called Hutsell & Pisor's Registry of World Record Size Shells, for the third edition the title was modified slightly to Hutsell, Hutsell and Pisor's Registry of World Record Size Shells (as given on the respective title pages). The text of the fourth edition was completed by Kim and Linda Hutsell and originally planned for release at the 2003 COA convention in Tacoma, Washington, but was greatly delayed and only came out in 2005. The fifth edition appeared three years later. With the departure of the first two authors, the titles of the fourth and fifth editions were shortened to Pisor's Registry of World Record Size Shells (as given on the title pages).
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It may also the name of the arranger, if the song or piece has been arranged for the publication. No songwriter or composer name may be indicated for old folk music, traditional songs in genres such as blues and bluegrass, and very old traditional hymns and spirituals, because for this music, the authors are often unknown; in such cases, the word Traditional is often placed where the composer's name would ordinarily go. Title pages for songs may have a picture illustrating the characters, setting, or events from the lyrics. Title pages from instrumental works may omit an illustration, unless the work is program music which has, by its title or section names, associations with a setting, characters, or story.
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Kelly also edited the writings of John Gifford Bellett. Kelly's own writings contain lectures or notes on all the books of the Bible. The title-pages of Kelly's works generally bore the initials "W. K.". Several of his best-known expositions appeared during the last fifteen years of his life.
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22-23 The company motto, which it published decoratively and in Latin, on title pages of its books was Scire quod sciendum, and translates as Knowledge worth knowing. In 1899, Small, Maynard & Co. took over the Copeland & Day publishing house. A year later, founder Herbert Small retired due to ill health.
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Internationally known illustrators and cartoonists have been published from the beginning, including , Chaval, Paul Flora, Edward Gorey, Loriot, , Sempé, Roland Topor, F. K. Waechter and . Some of the artists illustrated other books or created drawings of title pages for Diogenes. Children's books included works by Philippe Fix and Maurice Sendak.
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The quarto that appeared in 1609 was printed in three states with three different title pages. :Q1a: under the title Ben Jonson, His Case is Altered, published by Bartholomew Sutton. :Q1b: as A Pleasant Comedy, called: The Case is Altered, and "Written by Ben. Jonson." Published by Sutton and William Barrenger.
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The title pages or first pages were the work of calligraphers, while the text was in Greco's own hand. Furthermore, some works survive only as later copies or translations, and therefore only their translated titles are known. # Trattato del Gioco de Scacchi de Gioachino Greco Cusentino. Diuiso in Sbaratti & Partiti.
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In the title-pages to two of his works the author is described as vicar of Drumgath in Ireland; but in biographical notices and in the obituary record of the Gentleman's Magazine for September 1832, he is described simply as vicar of Rathfriland and chaplain to the Earl of Charleville.
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The work was of two pages and a chart. The two pages were title pages which were in English and French. Printed on the back of these pages were information and instructions for the chart that was within. This chart consisted of a large single sheet of paper of a table.
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The two series are two of the leading journals in the field and are widely known as JCTA and JCTB. The journal was founded in 1966 by Frank Harary and Gian-Carlo Rota.They are acknowledged on the journals' title pages and Web sites. See Editorial board of JCTA; Editorial board of JCTB.
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Italian and German title pages of the original libretto of Mozart's opera, Idomeneo Idomeneo, a 1781 opera seria by Mozart, is based on the story of Idomeneus's return to Crete. In this version, Poseidon (Neptune in the opera) spares Idomeneo's son Idamante, on condition that Idomeneo relinquish his throne to the new generation.
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The play next appeared in print when it was included in Comedies and Tragedies, the collected edition of Killigrew's plays issued by Henry Herringman in 1664. Several of the plays in that volume have individual title pages dated "1663." In the collected edition, The Prisoners is dedicated to the dramatist's niece, Lady Crompton.
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Two other artists, J Stewart and J Frasier, have signed plates. Though 370 plates and maps are claimed on the title pages, there are only directions for the placement of 348 plates, of which only one could be described as a map, a plan of Washington, D.C., in 1800 by Andrew Ellicott.
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Much of the information about Adams comes from title-pages and dedications in his works. He was educated at the University of Cambridge, graduating B.A. in 1601 and M.A. in 1606. Ordained in 1604, he was a curate at Northill in Bedfordshire, a position he lost. By 1611, he was vicar of Willington.
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Fletcher is the name given to a revival of a nineteenth-century blackletter typeface designed in the Paris foundry of Theophile Beaudoire (1833–1903). The typeface appears in the title pages of many 1870s books. Dan X. Solo's revival is based on a Beaudoire & Cie. specimen and alters several characters towards improved legibility.
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Hieronymus Andreae, or Andreä, or Hieronymus Formschneider,"Formschneider" is German for block-cutter, and Andreae often signed himself as "Hieronymus Formschneider" or "Hieronymus Andreae Formschneider". He used these styles on the title pages of his books. "Jerome of Nuremberg" may be found pre-1940. In even older sources he may be called Resch or Rösch.
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The five 'books' of the main text (pp. 1–246) each have their own title-pages, the first three dated 1668 and the last two 1669. The latter half of the work (pp. 1–366) is occupied by the Tables with a further dated title-page of 1668 for the Synopsis Compendiaria of Astronomic Observations (part 2 p. 265).
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In some cases, printers are identified on title pages only by initials; yet bibliographers can employ title-page colophons and other clues to make identifications. On this basis, Stansby is the "W. S." who printed the second quarto of Shakespeare's Love's Labor's Lost (1631) and the undated fourth quarto of Hamlet (c. 1630), both for Smethwick.
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Following this there were five more reissues, all with unchanged text, but slightly different title pages. Izacke's manuscript history of 1665 provided the content for another book, first published in 1736 by his grandson (also named Samuel). This was about legacies left to the poor. Four further editions were published under various titles, the last in 1820.
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The most accessible modern text and translation are in the Loeb Classical Library (no. 231, published 1984, ). Christopher Plantin, Antwerp, in 1567, published two Lucius Florus texts (two title pages) in one volume. The titles were roughly as follows: 1) L.IVLII Flori de Gestis Romanorum, Historiarum; 2) Commentarius I STADII L.IVLII Flori de Gestis Romanorum, Historiarum.
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The tales have each separate title-pages and were dedicated among others to William Charles Macready, Charles Dickens, Douglas Jerrold, Leigh Hunt, and J. Payne Collier. From 1853 to 1856, Cowden-Clarke edited The Musical Times, to which she induced Hunt to contribute. She herself wrote for the paper a long series of articles called Music among the Poets.
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Title pages of the Aureum Opus RegaliumTitle page of the Aureum Opus. Retrieved 21 July 2018. and the Primera part de la Història de València (1538) by Pere Antoni Beuter show the Aragonese royal achievement. The Council of the Province of Valencia, founded as a result of the 1833 territorial division of Spain, adopted the royal achievement.
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The title pages of Volumes 1-12 give George Shaw and F.P. Nodder as authors. In vol 13 E.R. Nodder is listed after George Shaw. In vol 14, George Shaw is followed by E. & R. Nodder, while in the remaining volumes (15-24) (vols 13, 14) E. Nodder is listed together with George Shaw (vols 15-24).
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The writer speaks of himself as aged, and proposes a plan of religious services for the young. His name appears as Brookbank in his earliest publication; afterwards as Brooksbank, Brooksbanke, Brookesbanke, and on one of his title-pages as Broksbank. He Latinises it into Riparius. His Christian name is sometimes printed Jo., and this is expanded into John by mistake.
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87 after an unsuccessful surgery, from blood poisoning on April 3, 1899, in Saint Louis. LaBarge was 83. Four years later, in 1903, Chittenden completed and published his two-volume biography of LaBarge and his life on the Missouri River.Chittenden, 1903, Volumes I & II, title pages In Volume II of his work he quotes LaBarge expressing his love of the Missouri River.
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In: rogallery.com In the studio, where he initially produced frivolous postcards with copies of existing images, he soon designed his own works. Thereupon he received orders for the design of title pages for the magazine La Critique Théâtrale. Fashion houses hired Icart to create fashion sketches, with which he soon became known. In 1913 he showed his pictures at the Salon des Humoristes.
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Both the 1656 and 1657 editions include prefatory verses by John Tatham. The title pages describe the work as a "moral masque" — an accurate description, in that the drama combines the traits and characteristics of the traditional morality play with those of the 17th-century masque.Logan and Smith, p. 137. Featuring standard masque- style personifications, like Youth, Health, Delight, Time, Detraction, Fortune, etc.
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Halliday, pp. 215, 326-7. Neither play appears to have been a major success in printed form, since neither was reprinted prior to its inclusion in the First Folio in 1623. Aspley had another, minor link to Shakespeare: some copies of Thomas Thorpe's first edition of Shakespeare's Sonnets (1609) read "to be sold by William Aspley" on their title pages.
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In 1933, he participated in a major exhibition of young artists at a hotel called the , together with his friend Leon, Imre Földes, and others. His first solo exhibition came in March, 1936. Over the next few years, he advertised in Budapest as a draftsman and lithographer. In addition to his paintings, he designed the covers and title pages for several books.
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Catalogo della biblioteca del Liceo musicale di Bologna, vol. II (1892) s.v. "Leoni, Leone") He was received as a member by the Accademia Olimpica, Vicenza, some time between 1609 and 1612.According to the title pages of his Sacri fiori, 1609, and his Sacri fiori, Secondo libro, 1612, when the ascription 'Accademico Olimpico first appears (Catalogo della biblioteca del Liceo musicale di Bologna).
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His first work, entitled Subjects and Modes of Baptism, was printed at Pembroke in 1821; thenceforward, his pen was never idle. Upwards of seventy books have his name on their title-pages, a full account of which is given in Boase and Courtney's Bibliotheca Cornubiensis, i. 124–7, iii. 1163. Dunn wrote against atheism, popery, Socinianism and unitarianism, and in defence of Methodism.
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In 1911, Vazirov wrote under the name "Ali Khan Chamanzaminili"See Malik Mammad (Baku: Kaspiy Press 1911). Alternate versions of the name in other short stories in 1911 and 1912 were Ali Gulu Khan Chamanzaminli and A.G. Chamanzaminli. "Gulu" is a traditional name from Arabic which means "servant". Photos of title pages in Arabic script are published in Azerbaijan International, Vol.
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She was often asked to design special holiday editions as well as posters. She also received commissions for in-text illustrations and for adding decorative borders, vignettes, and title pages to publications. Along with designing book covers, Morse tried recreating 16th century book bindings. True to the Arts and Crafts aesthetic, Morse's cover designs feature highly stylized patterns of organic forms like leaves and flowers.
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In June 1995, Kodansha released Akira Club, a compilation of various materials related to the production of the series. These include test designs of the paperback volume covers, title pages as they appeared in Young Magazine, and images of various related merchandise. Otomo also shares his commentaries in each page. Dark Horse collaborated with Kodansha to release an English-translated version of the book in 2007.
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The only biographical information known about the author is from the cover and title pages of her cookbook that list her as "Amelia Simmons, An American Orphan"; all else is by inference. American Cookery is her only known published work. The preface reads: This indicates that she probably lacked formal education. Based on other quotes from her preface, she was most likely a domestic laborer.
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He also played a role in the Secession's organizing committee from the Fifth to the Tenth Exhibition (1899–1901). In 1905, he left the Secession along with Gustav Klimt due to differences of artistic opinion. Auchentaller was a contributor to the magazine Ver Sacrum, a Secessionist publication, and sat on its editorial board between 1900–1901. For this magazine, he contributed two title pages and many graphics.
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In 1901, he published a book of his experiences under the title Pages from the journal of a Queensland squatter; he dedicated his book to Robert Herbert, the first Queensland Premier. The book has been digitised and made available for public download by the Open Library. He died on 26 September 1906 at his residence, Elysee, Shorncliffe Road, Folkestone. His estate was valued at £443.
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INID is an acronym for Internationally agreed Numbers for the Identification of (bibliographic) Data. INID codes are used by patent offices worldwide for indicating specific bibliographic data items on the title pages of patents and patent application publications. INID codes use Arabic numerals, and so are language-independent. For example, number (30) indicates priority data, and (51) technical area according to the International Patent Classification (IPC).
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Special title-pages were rare; colophons were usually short. Borders were used by the Soncinos, as well as by Toledano at Lisbon and D'Ortas in the Ṭur of 1495 (see Borders; Colophon; Title-Page). Illustrations were only used in one book, the "Mashal ha-Ḳadmoni" (75). Printers' marks appear to have been used only in Spain and Portugal, each of the works produced in Hijar having a different mark.
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Sher, Richard B. The Enlightenment & the book: Scottish authors & their publishers Purchasers included George Washington, Thomas Jefferson, Aaron Burr and Alexander Hamilton. The original printing of 2,000 copies had sold out by 1818, at which time he still had a quantity of the 3-volume supplement remaining. To sell it, he had new title pages for the 3 volumes printed up dated 1818, and called them the Encyclopedia.
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Ord published a second edition of American Ornithology in 1824–25. The first 6 volumes were faithful reprints of the originals, confusingly so because they bear the dates of the first editions on their title pages (1808–12). In contrast, volumes 7–9 were revised and expanded by Ord and included a much larger version of his "Life of Wilson" (198 pp., versus 36 pages in the original 1814 version).
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Born the son of a fishmonger, Tofte eventually moved in aristocratic and literary circles and invariably presented himself as "R.T. Gentleman" on the title pages of his published works. He studied at Oxford beginning in 1582Williams, "Robert Tofte an Oxford Man," p. 12. and travelled in France and Italy between 1591 and 1594, where he perfected his Italian and French and possibly met Samuel Daniel and Giovanni Battista Guarini.
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"Grimms' Fairy Tales in English" by D. L. Ashliman provides a hyper-linked list of 50 to 100 English-language collections that have been digitized and are available online. They were published in print from the 1820s to 1920s. Listings may identify all translators and illustrators who were credited on the title pages, and certainly identify some others.D. L. Ashliman, "Grimms' Fairy Tales in English: An Internet Bibliography", ©2012-2017.
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The first page of the third issue of Blood & Thunder, which showed Scorpion hurling his weapon at an off-panel Sub-Zero, was a near-exact duplicate of Kombatants title page.Kombatants and Blood & Thunder title pages - 4thletter.net. Retrieved August 27, 2014. During the "Tournament Edition" double-issue conclusion of the miniseries, Scorpion loses a fight to Kitana, who had stopped him beforehand from killing an unconscious Sub-Zero.
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The Dictionary of 20th Century British Book Illustrators. Woodbridge, Suffolk: The Antique Collectors’ Club. He was associated with the Nonesuch Press in its early years for which he provided decorations and title pages, and he illustrated fine editions of the King James Bible (1924) and the odes of Anacreon (1923). He designed banknotes for the Bank of England, but only one was issued, and for several other countries.
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Engraving by Melchor Prieto and Alardo Popma, 1622 Alardo de Popma (before 1617-1641) was a Flemish engraver, who worked in Madrid in the early seventeenth century, according to the earliest references to his works. His copperplate engravings include title-pages, frontispieces and portraits, which are characterized by an exceptionally clean and confident line. His is known to have lived in Seville for a time, perhaps in order to undertake a commission there.
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Unlike many of the court masques of the early Stuart era, Montagu's text was not published soon after its staging. It was entered into the Stationers' Register on 27 September 1658, and appeared in an octavo edition in 1659. The first edition is bibliographically confusing, with alternate title pages that credit the book either to the stationer Thomas Dring or to John Starkey; the prose Introduction is signed "T. D.," probably indicating Dring.
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Other letters are extant in family attics, and a poem is in the Old Gaol Museum in York. Wood, desiring anonymity, wrote and published under pseudonyms. On the title pages of her first four books, she was identified as either "A Lady" or "A Lady from Massachusetts." Since her last book was published after Maine became a state in 1820, she was identified as "A Lady from Maine" on its title page.
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12 Other collaborations between the two writers were not acknowledged on title pages or in programmes, but were plays by one turned into novels by the other, or vice versa. Bolton's play, Come On, Jeeves centred on one of Wodehouse's best-known characters; Wodehouse later adapted the play as the novel Ring for Jeeves.Usborne, pp. 155–56. Wodehouse's novels French Leave, The Small Bachelor and others were adapted from plots by Bolton.
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Meher Baba signing title pages for God Speaks in March 1955 Meher Baba began dictating God Speaks to Eruch Jessawala by way of alphabet board in Dehradun, India on August 1953. Points were dictated to Jessawala every day, who would jot them down and write them out at night. The next day Eruch would read to Baba what he had written. This dictation was continued for several months in Mahabaleshwar and also subsequently at Satara.
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In this period the roles of printer and publisher were not necessarily as now, and the accuracy of the information given on title pages cannot be relied on. The person named as translator might at most be an editor, since all Bible versions depended heavily on Tyndale's and/or Coverdale's work. Printers and others involved in the publication sometimes worked under pseudonyms. Dates and places of publication might also be given incorrectly.
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Fire appliance of the Monégasque firefighters Describing itself as a military force,See the official website of the Corps des Sapeaurs-Pompiers title pages. the Corps consists of 10 officers, 26 non- commissioned officers and 99 other ranks (with 25 civilian employees), providing fire, hazardous materials, rescue, and emergency medical services.See these pages for personnel strength and rank structure. The officers' ranks (in descending order of seniority) are: Colonel, Lieutenant- Colonel, Commandant, Captain, Lieutenant, and Sub-Lieutenant.
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His health required outdoor exercise, and he was a keen sportsman and angler. A ready wit and unconventional dress earned him the appellation of 'the fool [jester] of Fenwick,' which appears even on title-pages of his sermons. He mixed with his parishioners on easy terms. Finding that one of them went fowling on Sunday, and made half-a-crown by it, he offered him that sum to attend the kirk, of which the man ultimately became an elder.
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Some of his works was used for title pages of the Nazi Newspaper "Voelkischer Beobachter" (observer of the people). One of them carried his title painting "Berlin brennt" (Berlin is burning) All of his work in oil was lost after the end of the war. It must have been destroyed or looted. Nevertheless, Zenzinger could save a lot of his drawings showing the life of the soldiers during the war which his son Gunnar inherited after his death.
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It should be remarked that the notes in this edition were intended to correct the text. Three years after his elevation to the episcopate he was smitten with an attack of apoplexy which left him suffering, deprived of the power of motion, until his death. His long career was filled chiefly with the re-editing of erudite ecclesiastical works with notes and complementary matter. His name appears on the title-pages of ninety folio volumes and numerous quartos.
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Hugh Broughton (1549–1612), an English scholar and theologian, engraved by John Payne (1620). Payne had considerable skill in engraving, and many of his portraits and title-pages have great merit. His chief work is the large engraving, done on two plates, of the great ship Sovereign of the Seas, built by Peter Pett at Deptford in 1637. John Evelyn in his Sculptura extols this engraving, as well as Payne's portraits of Dr. Alabaster, Sir Benjamin Rudyerd, and others.
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In 1804 there was printed at Birmingham a volume of the poems of Collins, with the queer title of 'Scripscrapologia, or Collins's doggerel dish of all sorts. To it is prefixed a portrait of the author, followed by an apostrophe to Mr. Meyler, bookseller and printer in the Grove, Bath. His name is found on the title-pages of two other works: 1. 'Lecture on Heads [by G. A. Stevens] as delivered by Mr. Palmer at the Royalty Theatre. . . .
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' His name appears on the fifth edition of ' The Pleasant Musical Companion,' dated 1707, but as a rule these publications were antedated; and his name does not occur again in advertisements or on title-pages. He died between 1706 and 1721, when his will was proved. He left a legacy to Henry Purcell, and the bulk of his property to his wife Ann (née Baker - daughter of Thomas Baker of Oxford), whom he had married in December 1688.
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Songs and dances would have ensued, and an anti-masque of sailors. It is possible that Jonson's unperformed masque may have influenced the most famous literary work connected with the Spanish match affair, Middleton's A Game at Chess.Howard-Hill, p. 42. When Jonson's text was published, in quarto in 1624 and in the second folio collection of Jonson's works in 1641, the wording of the title pages gave the impression that the masque had in fact been performed.
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Heighway dragon curve The Heighway dragon (also known as the Harter–Heighway dragon or the Jurassic Park dragon) was first investigated by NASA physicists John Heighway, Bruce Banks, and William Harter. It was described by Martin Gardner in his Scientific American column Mathematical Games in 1967. Many of its properties were first published by Chandler Davis and Donald Knuth.A New Kind of Science It appeared on the section title pages of the Michael Crichton novel Jurassic Park.
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Title pages of Drewsen's book Man Minnes Mangt with a photograph of the author Gudrun Løchen Drewsen (1867–1946) was a Norwegian-born American women's rights activist and painter. A competent organizer and strategist, she was one of the founders and principal figures in New York's Norwegian Suffrage League. She contributed effectively to the American suffrage cause after Norwegian women were granted voting rights in 1913. As a painter, she participated in Oslo's national art exhibition in 1890.
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The 'body matter' is the group of pages that contain the body of the text of the book. The front matter comes before it, containing title pages, content lists, publisher's metadata etc. It is followed by the back matter, which includes appendices, references, credits, colophon etc. The distinction between the parts, body and other, is that the body matter is produced by the author, the front and back matter by the publisher (through the book designer, index collator etc.).
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A short-title catalogue (or catalog) is a bibliographical resource that lists printed items in an abbreviated fashion, recording the most important words of their titles. The term is commonly encountered in the context of early modern books, which frequently have lengthy, descriptive titles on their title pages. Many short-title catalogues are union catalogues, listing items in the custody of multiple libraries. Online short-title catalogues in fact tend to record complete (and therefore longer) title transcriptions.
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The title pages of On the Origin of Species open with a quotation from Whewell's Bridgewater Treatise about science founded on a natural theology of a creator establishing laws: (The Origin of Species page ii.) Retrieved on 5 January 2007 > But with regard to the material world, we can at least go so far as this—we > can perceive that events are brought about not by insulated interpositions > of Divine power, exerted in each particular case, but by the establishment > of general laws.
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Meantime, he lectured on astronomy at the college of Évora. While there, in order to conform to the language of the country, he changed his name to the form "Estancel", in which form it appears on the title pages of most of his published works. He was unable to procure passage to India, traveling instead to Brazil, where he was attached to the Jesuit College and Seminary of Salvador, Bahia, as professor of Moral Theology. He also later served as the institution's Superior.
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Sabino advertised himself as a poet laureate on the title pages of his editions of ancient texts. It is unclear in whose court he held the position, or in what year, though one scholar conjectured 1469.Vincenzo Lancetti, Memorie intorno ai poeti laureati d'ogni tempo e d'ogni nazione (Milan, 1839), p. 170. At any rate, he was identified as such in the period 1469–1474,Christina Meckelnberg and Bernd Schneider, Odyssea Responsio Ulixis ad Penelopen: Die humanistische Odyssea decurtata der Berliner Handschrift Diez.
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20, 31 ottobre, 1871, p. 112 Since most title pages carried a fair amount of white space, there remained room for additional information such as a table of contents or a summary of the work. In a pamphlet on the Milan Exposition of 1881, Battezzati included a list of nearly one hundred Italian publishers using his card system. However, after Battezzati's death in 1882, the card system receives no further mention and perhaps, having lost its main proponent, fell from use.
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Daukša's catechism was a translation of the popular Roman Catholic catechism by , Spanish Jesuit, published in Rome in 1573. Daukša translated it from a Polish translation that in turn was a translation from Italian. The book has two parts with their own title pages and forewords: catechism (108 pages) and confessional (88 pages). The catechism, written in a question-and-answer format between a teacher and a student, has five parts on Christian faith, person's will, hope, love, and the seven sacraments.
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The only known biographical detail about Camilla is her Roman citizenship. She always signed the title pages of her manuscripts as Romana, or a woman of Roman descent. Rossi composed four oratorios for solo voices and orchestra, all of which were commissioned by Emperor Joseph I of Austria and were performed in the Imperial Chapel in Vienna. All of Rossi’s surviving works demonstrate an intimate knowledge of stringed instruments and, as Barbara Garvey Jackson describes, "a keen interest in tone color".
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It was only late in her life, as with The Edinburgh Tales (1846), that she was identified by name on her title pages. She and her second husband started and ran several periodicals – The Schoolmaster, The Edinburgh Weekly Magazine, and others. In 1832, the year of the first Reform Bill, the Johnstones founded Johnstone's Edinburgh Magazine as a voice for the causes they favoured. The periodical struggled financially, and in 1834 it was combined with another new journal, Tait's Magazine.
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This painting has been held as a prime example of Baroque religious art.Martin (1977): 109. Rubens used the production of prints and book title-pages, especially for his friend Balthasar Moretus, the owner of the large Plantin- Moretus publishing house, to extend his fame throughout Europe during this part of his career. In 1618, Rubens embarked upon a printmaking enterprise by soliciting an unusual triple privilege (an early form of copyright) to protect his designs in France, the Southern Netherlands, and United Provinces.
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Merovingian illumination is the term for the continental Frankish style of illumination in the late seventh and eight centuries, named for the Merovingian dynasty. Ornamental in form, the style consists of initials constructed from lines and circles based on Late Antique illumination, title pages with arcades and crucifixes. Figural images were almost totally absent. From the eight century, zoomorphic decoration began to appear and become so dominant that in some manuscripts from Chelles whole pages are made up of letters formed from animals.
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Louis Lacoste, also given as De La CosteAccording to Grove Music Online, the two versions of his name appear on title-pages of scores, but the composer signed "Lacoste" on copies of the published scores of Télégone, Orion, and Biblis, found in Toulouse. (c. 1675 – c. 1750) was a French composer of the Baroque era. He was a singer, first appearing in the chorus of André-Cardinal Destouches' Issé (1697) then chorus master and leader of the orchestra at the Paris Opéra (from 1710 to 1714).
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Collinson's magnum opus was his History and Antiquities of the County of Somerset, which bears the date 1791 on its title pages although it did not in fact appear until 1792. The work made use of the standard antiquarian and historical works, as the title page acknowledges, and partially included a survey by Edmund Rack of Bath. An initial difficulty was met when the expected access to the papers of John Strachey was not granted. The history is neatly organised by parish and hundred.
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Cleland began his career as a book designer for the Caslon Press and created title pages for Merrymount Press. D. B. Updike of Merrymount Press was a mentor who encouraged him to strive for perfection with commissions and criticism. When the Caslon Press folded in 1900, Cleland acquired a small foot-powered press and some fonts and launched his own printing shop from a room he constructed in his father's basement. He managed to produce two small books along with small job printing projects.
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One of the ways that Wells expressed himself was through his drawings and sketches. One common location for these was the endpapers and title pages of his own diaries, and they covered a wide variety of topics, from political commentary to his feelings toward his literary contemporaries and his current romantic interests. During his marriage to Amy Catherine, whom he nicknamed Jane, he drew a considerable number of pictures, many of them being overt comments on their marriage. During this period, he called these pictures "picshuas".
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For his title pages, Field adopted an Aldine device, an anchor with the Latin motto Anchora Spei, "anchor of hope," which previously belonged to the Vautrollier. In Field's era, the trades of printer and publisher were to some significant degree separate activities: booksellers acted as publishers and commissioned printers to do the requisite printing. Field concentrated more on printing than publishing: of the roughly 295 books he printed in his career, he was publisher of perhaps 112, while the rest were published by other stationers.Kirkwood, p. 13.
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Both the Great and Little Turnstiles were well known for their booksellers and publishers. In 1636, George Hutton was at the "Sign of the Sun within the Turning Stile at Holborne" and published works such as Europæ Speculum by Sir Edwin Sandys. John Bagford was a shoemaker in the Great Turnstile who went on to become a bookseller and collector there. He made two great collections – one of ballads and another of title pages and other parts of books, which was to form a history of printing.
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The convergence of documentary evidence of the type used by academics for authorial attribution – title pages, testimony by contemporary poets and historians, and official records – sufficiently establishes Shakespeare's authorship for the overwhelming majority of Shakespeare scholars and literary historians, and no such evidence links Neville to Shakespeare's works. They reject all alternative authorship candidates, including Neville. The few that have responded to Nevillean claims have overwhelmingly dismissed the theory. They say the theory has no credible evidence, relies upon factual errors and distortions, and ignores contrary evidence.
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Playford was born in Norwich, the younger son of John Playford. He served an apprenticeship in London with publisher John Benson from 1639/40 to 1647, after which he remained in the capital, opening a shop in the porch of Temple Church. Playford was clerk to the church, and probably resided with his wife Hannah over the shop until 1659. He was, it appears (from the title- pages of his publications) temporarily in partnership with John Benson in 1652, and with Zachariah Watkins in 1664 and 1665.
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72-84, 97, 133. Meighen was active as a publisher during the years 1615 to 1641; his shops, as his title pages specify, were "under St. Clement's Church" in the Strand, and "next to the Middle Temple, in Fleet Street." He started his career on a prestigious note, acting as William Stansby's sales agent when Stansby printed and published the first Jonson folio in 1616. Like many stationers of his era, Meighen concentrated on publishing and selling books, and commissioned printers to print the works he published.
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Her title pages also had flowered borders, and the oblong size of the books were unique, as they were never found in any other medieval manuscripts from this era. Just like the manuscript given to Herbert, these gift books were meant to display Inglis's skill as a calligrapher. Each page delivered a different style of handwriting, though there was no alphabet included as there was with the manuscript given to Herbert. Instead, there were colourful birds, flowers, or butterflies on the top of each page.
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The portfolios consist of three different sets of twelve black and white lithographic brush drawings selected from the Táin illustrations - five ‘Individual Subjects’ and four chromo-lithographic ‘Epic Shields’ separate. It is a limited edition of 70 proofs (one artist's proof), each sheet individually signed, dated and numbered by the artist – including portfolio numbers (I, II, & III). It was printed by Frank O’Reilly, Dublin, on Swiftbrook paper, each sheet 54 x 38 cm. It forms a large folio, unbound, with title pages and black interleaves.
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Despite the success of the Encyclopedia, the Panic of 1837 led the Careys to scale back their catalog and concentrate on medical works. Nevertheless, this work continued to return profits to its owners on a regular basis. Publishing houses across the United States, and even in Canada, would rent or purchase Carey stereotype plates and publish Encyclopedia editions with their own imprints at the foot of the title pages, while retaining the Carey copyright notes on the overleaf, through 1858.De Kay, "Encyclopedia Americana", p.
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Title pages are not required in all citation styles; instead, some styles require that the same information is placed at the top of the essay's first page. The title page for a thesis contains the full title, the author's name and academic credentials, the degree-granting faculty and department name, the name of the university and date of graduation, and the universal copyright symbol. The thesis title page is usually page i, but is not numbered; the abstract (page ii) is the first numbered page.
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89 volumes in the "Three question marks" series, all with covers designed by Aiga Rasch between 1970 and 1999 Aiga Rasch became well known, above all, because of the title pages of the children's book series "Die drei ???" ("The three question marks": known for English-language readers as the "Three Investigators" series ). The first volumes were translated into German from American-English, and later achieved the cult status which in Germany they retain today partly because of the cover-pages. The designs are distinctive and unmistakable.
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Soon after 1500, roman typefaces began to gain popularity north of the Alps for printing of Latin literature. Johann Froben of Basel, Switzerland set up his press in 1491, and by about 1519 (when he printed Erasmus's famous edition of the Greek New Testament) he had established a set of standards for humanistic printing which were widely copied throughout the German-speaking world and also in Spain and, to a lesser extent in England. His principal type is wholly roman in the shape of the characters but retains an echo of gothic influence in the angled serifs and the way the thick and thin strokes are organized; it was coupled with mated sets of woodcut initials (often designed by distinguished artists) and with two larger sizes of uppercase letters for use in title pages and headings—Froben was the first to use such 'display faces' consistently, breaking away from the Italian tradition in which title pages and headings tended to be set in the same size as the main text. By using these large faces, Froben developed the title page as a fully organized artistic whole.
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Brookbank was the son of George Brookbank of Halifax; at Michaelmas term 1632, when he entered Brasenose College, Oxford as a batler (poor scholar), he was aged twenty. He graduated B.A. and took orders. In the Bodleian is the printed petition to the king, in September 1647, from John Brookbank and thirty-three other ministers, expelled from Ireland by the rebels. This John is probably identical with the subject of this article, who is called John on the title-pages of his Vitis Salutaris (1650) and Compleat School-Master (1660).
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A second edition, containing also a reprint of the Examen Astronomiae Carolinae, was produced in 1666, almost the entire run of which was destroyed in the Great Fire of London.This fact is apparently referred to in the second edition of William Leybourn's The Compleat Surveyor (London: E. Flesher for George Sawbridge, 1674). See images of title pages at "The Compleat Surveyor" website of the Francois D. "Bud" Uzes Memorial Scholarship Fund. The Third Edition was the much enlarged version issued as Geodætes Practicus Redivivus by his nephew John Wing in 1699–1700.
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The scope was also extended to include legendary, folklore and hagiographical materials, and archival records and legal tracts. The series was government-funded, and takes its unofficial name from the fact that its volumes were published "by the authority of Her Majesty's Treasury, under the direction of the Master of the Rolls",This statement, or some close variant, appears on the title pages of all volumes. who was the official custodian of the records of the Court of Chancery and other courts, and nominal head of the Public Record Office.
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In the first two variants, 1790 is given as the year of publication, and in the other two variants, it is 1791. The 1790 variants have two title pages, one in Slavonic-Serbian (folio 1 verso), and the other in German (folio 2 recto). The earlier of these variants contain a dedication to Metropolitan Mojsije Putnik composed by Kurzböck, while the other variant has no dedication. The 1791 variants have one title page (folio 2 recto) with both the Slavonic-Serbian and the German version of the title.
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One of the convicted "criminals" challenges the court, attacking the credentials of the jury, including Shakespeare, who is called a mere "mimic". Despite the fact that Bacon and Shakespeare appear as different individuals, Baconians have argued that this is a coded assertion of Bacon's authorship of the canon, or at least proof that he was recognised as a poet.Baxter, James, The Greatest of Literary Problems, Houghton, 1917, pp. 389–91. Various images, especially in the frontispieces or title pages of books, have been said to contain symbolism pointing to Bacon's authorship.
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The first editions of these two books were credited to "Clonnico de Curtanio Snuffe"—that is, to the "Clown of the Curtain". The 1605 edition changes "Curtain" to "Mundo" (that is, Globe); only in 1608 was he credited by name, though the earlier title pages would have sufficed to identify him for Londoners. Another work of uncertain date (it was published in 1609) is The Italian Tailor and his Boy. A translation of a tale from Gianfrancesco Straparola, the subject matter may reflect his family background of tailors.
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Publication of the first edition was arranged by Hugo Hildebrand Hildebrandsson, Albert Riggenbach, and Léon Teisserenc de Bort, members of the Clouds Commission of the International Meteorological Committee aka International Meteorological Organization (now the World Meteorological Organization). It consists of color plates of clouds, and text in English, French, and German. Consequently, it had separate title pages in each language and is known also by its alternate titles Atlas international des nuages and Internationaler Wolkenatlas. These were selected by the Clouds Commission, which also included Julius von Hann, Henrik Mohn, and Abbott Lawrence Rotch.
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The best-known piece from either book is the first prelude of Book I. Anna Magdalena Bach copied a short version of this prelude in her 1725 Notebook (No. 29). at IMSLP website The accessibility of this C major prelude has made it one of the most commonly studied piano pieces for students completing their introductory training. This prelude also served as the basis for the Ave Maria of Charles Gounod.. From the first edition, title pages stated that the piece was "on" or "adapted from" Bach's prelude.
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Mumbo Jumbo both depends on and fosters the disorientation of the reader. Rather than stick to any semblance of a novel's conventions, Reed supplies us with a hodgepodge of hand-written letters, radio dispatches, photographs, various typefaces, drawings, and even footnotes. With the first and second chapters interrupted by copyright and title pages, we even get the sense we're looking at a cinematic title screen. This is all to say that Reed is constantly blurring the lines of those things traditionally understood as distinct—in this case, form.
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Ward, whose name was engraved upon the print as the designer, was sent to and examined by the Privy Council, and was committed to prison. After a brief detention he was permitted to return to Ipswich, and he subsequently confined his talents as a designer to the ornamentation of the title-pages of his published sermons. In 1622 Bishop Samuel Harsnett prosecuted Ward for nonconformity in the consistory court of Norwich. Ward appealed to the king, who referred the articles exhibited against him to the examination of Lord-keeper John Williams.
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This permitted its authors to claim they had published fiction, not truth, if they ever faced allegations of libel. Prefaces and title pages of seventeenth and early eighteenth century fiction acknowledged this pattern: histories could claim to be romances, but threaten to relate true events, as in the Roman à clef. Other works could, conversely, claim to be factual histories, yet earn the suspicion that they were wholly invented. A further differentiation was made between private and public history: Daniel Defoe's Robinson Crusoe was, within this pattern, neither a "romance" nor a "novel".
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Portrait of Nicholas Culpeper. Gaywood's portraits include copies from engravings by Hollar, and those in the Centum Icones of Anthony van Dyck. Others were those of: William Drummond of Hawthornden, and the early kings of Scotland in his History of Scotland, 1655; Oliver Cromwell; James Shirley; Sir Peter and Lady Ellinor Temple; George Monck, Duke of Albemarle (after Barlow); Madame Anne Kirk; General William Fairfax; Sir Bulstrode Whitelocke; and John Browne the instrument maker. Among the frontispieces and title-pages was that to Johann Jacob Wecker's Secrets of Art and Nature (1660).
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But the almanac, which he dubbed Leavitt's Farmers' Almanack and Miscellaneous Yearbook, became such a success that after a while Leavitt shelved many of his other activities to focus on it. The once-farfetched idea was a runaway hit."The turn into the nineteenth century brought greater changes in these ephemera than just the abrupt dropping of the 'k' from the word "Almanack' on most title pages", writes Milton Drake in his 1962 Almanacs of the United States. "The only 'special interest' that almanacs had served until then was agriculture.
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Moore's Dublin Edition of Encyclopædia Britannica was an Irish printing of Encyclopædia Britannica Third Edition, printed by James Moore of College Green, Dublin. The title pages are dated the year they were printed, in volume order from 1788 to 1797, as opposed to those of Britannica, which were all dated 1797. This leads to the curious situation where the pirated version of a work has an earlier date than the original. The number of copperplates is listed as "Near Five Hundred" while Britannica and Dobson's Encyclopaedia both say 542.
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Richardson, who was himself the target of Henry Fielding's satire, said that he thought Sarah and Henry were possessed of equal gifts of writing. The Adventures of David Simple went into a second edition within ten weeks, and was translated into French and German. The title pages to Sarah Fielding's other novels often carried the advertisement that they were written by "the author of David Simple". The novel was sufficiently popular that Fielding wrote Familiar Letters between the Principal Characters in David Simple as an epistolary furtherance to the novel in 1747.
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As a result of the inaccuracy of existing editions of the Vulgate, the delegates of Oxford University Press accepted in 1878 a proposal from classicist John Wordsworth to produce a critical edition of the New Testament. This was eventually published as Nouum Testamentum Domini nostri Iesu Christi Latine, secundum editionem sancti Hieronymi in three volumes between 1889 and 1954. 3 vols. Along with Wordsworth and Henry Julian White, the completed work lists on its title pages Alexander Ramsbotham, Hedley Frederick Davis Sparks, Claude Jenkins, and Arthur White Adams.
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Pierre Bayle recounts the title-pages of no fewer than thirty-two books of which Amyraut was the author. These show that he took part in all the great controversies on predestination and Arminianism which then so agitated and harassed all Europe. Substantially he held fast the Calvinism of his preceptor Cameron; but, like Richard Baxter in England, by his breadth and charity he exposed himself to all manner of misconstruction. In 1634 he published his Traité de la predestination, in which he tried to mitigate the harsh features of predestination by his Universalismus hypotheticus.
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The following list includes all the works of Lydia Sigourney that were published as books under her supervision. Contributions to periodicals, which number many thousands, are not included; similarly, single poems reprinted for distribution at funerals or for other occasions have been excluded. Where the same work reappeared under a new title, the second title is listed with a reference to the earlier one. The dates in all cases are taken from the title pages, though many of the books were published late in the preceding years to catch the holiday trade.
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As a result of the inaccuracy of existing editions of the Vulgate, in 1878, the delegates of the Oxford University Press accepted a proposal from classicist John Wordsworth to produce a critical edition of the New Testament. This was eventually published as Nouum Testamentum Domini nostri Iesu Christi Latine, secundum editionem sancti Hieronymi in three volumes between 1889 and 1954. 3 vols. Along with Wordsworth and Henry Julian White, the completed work lists on its title pages Alexander Ramsbotham, Hedley Frederick Davis Sparks, Claude Jenkins, and Arthur White Adams.
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Even later in her career, she turned back to developing recreated printed books, including reproducing fifty-one of the Emblemes ou devises chrestiennes by Georgette de Montenay for Prince Charles. Although creative borders and colourful illustrations were part of Inglis's technique, she also embroidered her work. Inglis produced jewel-like covers for her royalty works, usually embroidered with seed pearls and gold and silver thread on red velvet. The cover of each book complements her books' interior display of skilled calligraphic style, title pages, self-portraits, ornaments, ink drawings, and emblems.
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Alfred Richard Allinson (1852–1929) was a British academic, author, and voluminous translator of continental European literature (mostly French, but occasionally Latin, German and Russian) into English. His translations were often published as by A. R. Allinson, Alfred R. Allinson or Alfred Allinson. He was described as "an elusive literary figure about whom next to nothing is known; the title-pages of his published works are really all we have to go on."Boroughs, Rod, "Oscar Wilde's Translation of Petronius: The Story of a Literary Hoax", English Literature in Transition (ELT) 1880-1920, vol.
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Little research has been done on Gervaise's life, and details are only known of the period in which he was active in Paris as an assistant to Attaingnant. He first appears around 1540, mentioned as an editor on the title pages for several of Attaingnant's books of instrumental dances. After Attaingnant died in late 1551 or 1552, Gervaise continued to assist Attaingnant's widow, Marie Lescallopier-Attaingnant, in carrying on their publishing business. Where Gervaise went after the last publication under the Attaingnant name in 1558 is not known.
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Bawdwen was the son of William Bawdwen, of Stone Gap, Craven, Yorkshire, born 9 March 1762. He was educated at Manchester Grammar School, and subsequently took holy orders. He is described on the title-pages of his books as B.A., but his name does not occur in the lists of Oxford or Cambridge graduates. He is said to have been at one time curate of Wakefield; he later became curate of Frickly-cum-Clayton and vicar of Hooton Pagnell, benefices near Doncaster, which he held until his death.
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Robert Davenport (fl. 1623–1639) was an English dramatist of the early seventeenth century. Nothing is known of his early life or education; the title pages of two of his plays identify him as a "Gentleman," though there is no record of him at either of the two universities or the Inns of Court. Scholars have guessed that he was born c. 1590; if, as some scholars think, he wrote the Address "To the knowing Reader" in the first quarto of King John and Matilda, he was still alive in 1655.
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The theme of social status and restoration runs deep through the plots of many of his plays, and at times Shakespeare seems to mock his own longing. By 1596, Shakespeare had moved to the parish of St. Helen's, Bishopsgate, and by 1598 he appeared at the top of a list of actors in Every Man in His Humour written by Ben Jonson. He is also listed among the actors in Jonson's Sejanus: His Fall. Also by 1598, his name began to appear on the title pages of his plays, presumably as a selling point.
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Zeno jokingly referred to the gatherings at Lalli's house as the "Accademia Lalliana" ("Lallian Academy"). Lalli was also a member of an actual academy, the Accademia degli Arcadi. The academy's pan pipe symbol appears on the title pages of some of his published poetry, and two of his intermezzi (La cantatrice and Il tropotipo) were published under his arcadian name "Ortanio". In 1723, in addition to his work for the Venetian theatres, Lalli became the court poet for Maximilian Emanuel, Elector of Bavaria and later his son Carl Albert.
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In 2010 Taschen republished the work in a facsimile edition and in 2017 a project was launched to extend the work to the remaining works of Euclid. Byrne listed himself as a Mathematician, Civil Engineer, Military Engineer, and Mechanical Engineer and indicates on the title pages of one of his books that he was Surveyor of Queen Victoria's settlement in the Falkland Islands. Evidence shows Byrne never traveled to the Falkland Islands (see Hawes & Kolpas, 2015). The U.S. Library of Congress has a steel-engraved portrait of Oliver Byrne.
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The plays were originally published anonymously; the 1601 quartos lack any attribution of authorship on their title pages. The account book of theatrical manager Philip Henslowe (known as Henslowe's Diary) records a payment, dated 15 February 1598, to "Antony Monday" for "a playe booke called the firste parte of Robyne Hoode." The Diary records subsequent payments to Munday on 20 and 28 February the same year for "the second pte of Roben Hoode." Given the plays' general resemblances with Munday's earlier drama John a Kent and John a Cumber (c.
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The title page of the 1598 edition of Love's Labour's Lost in which the name is spelled "Shakeſpere", using a long s in the middle. Fifty-eight quarto (or Q) editions of Shakespeare's plays and five editions of poetry were published before the First Folio. On 20 of the plays, the author is not credited. On 15 title pages, his name is hyphenated, "Shakespeare", 13 of these spellings being on the title pages of just three plays, Richard II (Q2 1598, Q3 1598, Q4 1608, and Q5 1615), Richard III (Q2 1598, Q3 1602, Q4 1605, Q5 1612, and Q6 1622), and Henry IV, Part 1 (Q2 1599, Q3 1604, Q4 1608, and Q5 1613). A hyphen is also present in the first quarto of Hamlet (1602) and the second of King Lear (1619). The name printed at the end of the poem The Phoenix and the Turtle, which was published in a collection of verse in 1601, is hyphenated, as is the name on the title page and the poem A Lover's Complaint of Shake-speares Sonnets (1609). It is used in the cast list of Ben Jonson's Sejanus His Fall, and in six literary allusions published between 1594 and 1623.John Louis Haney, The Name of William Shakespeare, Egerton, 1906, pp. 27–30.
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Richard Alfred Hunter FRCP (11 November 1923 – 25 November 1981) was a British physician of German origin, and president of the History of Medicine Society of the Royal Society of Medicine from 1972 to 1973. He was a psychiatrist, historian and book collector. With his mother, Dr Ida Macalpine, also a psychiatrist, he wrote Three Hundred Years of Psychiatry 1535 to 1860, Oxford University Press, 1963, using title pages from books in his collection to illustrate this first full chronicle of British psychiatry. Each book is accompanied by an essay describing its place in medical and social history.
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See Getty for lists of variants. (c. 1564, Arnemuiden – buried 6 March 1637, Utrecht)Passe, Crispijn van de (I) at the Netherlands Institute for Art History was a Dutch publisher and engraver and founder of a dynasty of engravers comparable to the Wierix family and the Sadelers, though mostly at a more mundane commercial level. Most of their engravings were portraits, book title-pages, and the like, with relatively few grander narrative subjects. As with the other dynasties, their style is very similar, and hard to tell apart in the absence of a signature or date, or evidence of location.
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Placido Falconio, also called Falconi in some sources, was an Italian composer of the 16th century. His birth and death dates are unknown; his first publication dates from 1575, his last from 1588. In 1549, he entered a Benedictine monastery, and the title pages of his published works indicate that he was a monk in the abbey of Monte Cassino at the time of their printing. According to the dedication of Falconio's Psalmodia vespertina (Vespers psalms), the composer was part of a group or consortium that helped introduce Venetian music printing methods into his native Brescia.
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Charles Wilfrid (or Wilfred) Scott-GilesThe spelling of his second Christian name varies. It appears as "Wilfrid" on the title pages of several of his books, such as The Romance of Heraldry (1929) and The History of Emanuel School (1935), and in the London Gazette notice of his appointment as Fitzalan Pursuivant in 1957; but as "Wilfred" in the London Gazette notice of his change of surname in 1928, and in his obituary in The Times in 1982. (24 October 1893 – 1982) was an English writer on heraldry and an officer of arms, who served as Fitzalan Pursuivant Extraordinary.
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Socrates of Constantinople (;The traditional epithet "Socrates Scholasticus" is not well-founded in any early tradition, according to his most recent editor, Theresa Urbainczyk, Socrates of Constantinople: Historian of Church and State (Ann Arbor: University of Michigan Press) 1997. . On the title pages of some surviving manuscripts he is designated scholastikos ("schooled"). 380 – after 439), also known as Socrates Scholasticus, was a 5th-century Christian church historian, a contemporary of Sozomen and Theodoret. He is the author of a Historia Ecclesiastica ("Church History", Ἐκκλησιαστική Ἱστορία) which covers the history of late ancient Christianity during the years 305 to 439.
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All of the wall maps were engraved with copious text on the region concerned. As an example the famous world map of 1569 is inscribed with over five thousand words in fifteen legends. The 1595 Atlas has about 120 pages of maps and illustrated title pages but a greater number of pages are devoted to his account of the creation of the universe and descriptions of all the countries portrayed. His table of chronology ran to some 400 pages fixing the dates (from the time of creation) of earthly dynasties, major political and military events, volcanic eruptions, earthquakes and eclipses.
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These could be used for purposes such as title pages, emphasis and drop caps. Bold type did not exist in Caslon's time, although some of his larger-size fonts are quite bold. One criticism of some Caslon-style typefaces has been a concern that the capitals are too thick in design and stand out too much, making for an uneven colour on the page. Printer and typeface designer Frederic Goudy was a critic: "the strong contrast between the over-black stems of the capitals and the light weight stems in the lower-case...makes a 'spotty' page".
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The business was afterwards carried on under the same name by Robert's son Andrew. W. J. Duncan's Notices and Documents illustrative of the Literary History of Glasgow, printed for the Maitland Club in 1831, among other things contains a catalogue of the works printed at the Foulis press, and pictures, statues and busts in plaster of Paris produced at the "Academy" in Glasgow University. The names of the brothers are often reproduced on title-pages and colophons of their publications in their Latinized form, "Robertus et Andreas Foulis". The brothers were buried in the Ramshorn Cemetery.
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Under Tschichold the covers included the use of Eric Gill's Gill Sans typeface, which he was careful to have spaced evenly. According to Tschichold establishing this quality was not immediately embraced by the compositors; “Every day I had to wade through miles of corrections (often ten books daily). I had a rubber stamp made: ‘Equalize letter-spaces according to their visual value.’ It was totally ignored; the hand compositors continued to space out the capitals on title-pages (where optical spacing is essential) with spaces of equal thickness.”Richard Doubleday, "Jan Tschichold at Penguin Books: A Resurgance [sic] of Classical Book Design" (PDF).
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In 1983 he produced a volume of his own photographs (Hardwicke Knight Photographer) . The photographs covered several genres including photojournalism, art photography and portraiture (of which Mollie was a frequent subject) and travel photography which revealed his fascination with a country’s architecture as well as its people. He also painted in watercolours, oils and pen and ink and owned a hand printing press on which he produced his own book plates, title pages and cards. Knight was an avid, obsessive collector, and his Broad Bay cottage and its makeshift additions became a virtual museum with his collections stacked floor to ceiling.
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A detailed description and listing of the contents of the Red Book was published by Joseph Hunter in 1838.Hunter 1838. An edition of the Book was published in 1897 in three volumes in the government-funded Rolls Series, edited by Hubert Hall of the Public Record Office.The three volumes were published in March 1897, but bear the date 1896 on their title pages: see Procter 2014, pp. 522–3. It was one of the last works to be commissioned in the series, and is numbered 99, the final work, in the unofficial (but widely followed) HMSO numbering sequence.
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Hume's History of the House and Race of Douglas and Angus was printed at Edinburgh in 1644 by Evan Tyler, the king's printer. He is thought to have finished the history between 1625 and 1630 (around the year of his death). The political message of the work includes the idea that direct action against "evil advisers" of a king is permissible to defend customary rights; and even against the king. The title- pages of early copies vary, with some having the title A Generall History of Scotland, together with a particular History of the Houses of Douglas and Angus.
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1858 advertisement for then-available volumes 1 through 19 of the 8th edition, cloth-bound at 24 shillings per volumeThe 8th edition was published from 1853 to 1860, with title pages for each volume dated the year that volume was printed. It contained 21 numbered volumes, with 17,957 pages and 402 plates. The index, published in 1861, was 239 pages, and was either bound alone as an unnumbered 22nd volume, or was bound together with volume I, the dissertations volume. Four of these dissertations were carried over from the 7th edition, and two were new to the 8th.
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Apart from the handful of images that appear on the title pages of major sections of the book, Internet Invention contains no images, despite the interplay between images and text being a major focus in the book and the concept of electracy itself. Ulmer's prose is complex, and the sheer number of specialized terms and prerequisite knowledge required to understand all of the concepts offered within make Internet Invention more accessible to those who have adequate knowledge of rhetoric and writing. The book is laid out in a way that makes it ideal for study in a class or for individual reading.
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Some sound effects within the panel were retouched out and re-lettered in English. Japanese sound effects that are an integral part of the artwork were usually left as is. Additionally, some text bubbles or panel borders were redrawn, and script pacing subtly altered in order to understand the story or the placement of text bubbles. In the monthly Dark Horse serialization, colored versions of title pages from the corresponding manga chapter were often featured as cover art, though in some cases a different piece of artwork, such as a tankōbon cover, were used as well.
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The first edition was dated 1849, though it was available for purchase in December 1848, perhaps to capitalize on the Christmas market. It was reprinted several times in the United States and in England during the 1850s and then again in 1866. The English editions included four engravings based on illustrations by Howitt's daughter, the artist Anna Mary Howitt.Publication information comes from the title pages of the books and from WorldCat database The original letters on which Mary Howitt's work was based are held in Manuscripts and Special Collections at the University of Nottingham in United Kingdom.
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Some of Shakespeare's plays were published in quarto editions, beginning in 1594, and by 1598, his name had become a selling point and began to appear on the title pages. Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603). The absence of his name from the 1605 cast list for Jonson's Volpone is taken by some scholars as a sign that his acting career was nearing its end.
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The illustrated title-pages of volume II, Fourth Edition of the novel Evelina: Or the History of a Young Lady's Entrance into the World (1779), by Frances Burney. Books and notes in this period instructing one how to behave in society are countless. In particular, Lord Chesterfield's letters to his son are a prime example to anyone concerned with propriety. He instructs his son to engage society in a pleasing manner which includes avoiding possibly offensive or controversial subjects, speaking in peaceful tones, and acquiring a poised posture, all in consideration of the company one is in.
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The Lovesick Court was entered into the Stationers' Register on 4 August 1640 by the bookseller Andrew Crooke, along with five other plays by Brome.The other five were The English Moor, The New Academy, The Weeding of Covent Garden, and two lost plays, Christianetta and The Jewish Gentleman. Yet the play was not published until it was included in the 1659 Brome collection Five New Plays. In that volume, each of the plays has a separate title page; and three of those title pages, including the one for The Lovesick Court, are dated 1658 instead of 1659.
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She also earned medals of honor from 10 European geographical societies and was eventually elected a member of the American Alpine Club, Royal Asiatic Society, Club Alpino Italiano, Deutscher und Österreichischer Alpenverein, and Club alpin français. She was very proud of these achievements, listing them on the title pages of her books. Fanny Workman fell ill in 1917 and died after a long illness in 1925 in Cannes, France. Her ashes were buried in Massachusetts, and are now reinterred along with her husband's, under a monument in Worcester Massachusetts' Rural Cemetery that reads "Pioneer Himalayan Explorers".
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Multiple copies of Junior were printed with boards and pages acquired from Blue Ribbon; A. L. Burt was named on the copyright pages, Blue Ribbon Books on the title pages, and Grosset & Dunlap on the spines and dust jackets. Orient saw similar treatment, with leftover Blue Ribbon pages bound into green boards produced by Grosset & Dunlap, while some copies of Senior had Blue Ribbon pages bound into orange Grosset & Dunlap boards. Other examples of hybrid printings likely exist, although they are infrequently found; their existence reflects not the production of entire printing runs, but rather the using up of leftover materials.
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The time of his death is uncertain. Anthony a Wood, whose knowledge of his latter days was evidently founded on a misreading of the title-pages and prefaces of his works, erroneously states that Eaton, having been instituted ‘in 1625 or thereabouts,’ continued vicar of Wickham Market until his death in ‘1641,’ and ‘was there buried,’ and he has been followed by all subsequent writers. Strype, in citing portions of an undated letter from John Echard, vicar of Darsham, Suffolk, in 1616, in which mention is made of Eaton and the court of high commission, absurdly refers it to 1575.
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The second set of > Wilbye's Madrigals (1609) is stated to be printed by "Thomas East, alias > Snodham", and it was therefore surmised by the nineteenth-century > musicologist Rimbault and that for some reason unexplained East took the > name of Snodham at this time, and that consequently all books bearing the > latter name are really to be included among the works printed by East. In > fact, Thomas Snodham was East's nephew and former apprentice. A freeman of > the Stationers' Company, he took over East's business after his death. > Snodham kept for a time the well-known name on his title-pages for > commercial reasons.
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Vignettes are sometimes distinguished from other in-text illustrations printed on a copper-plate press by the fact that they do not have a border; such designs usually appear on title-pages only. Woodcuts, which are printed on a letterpress and are also used to separate sections or chapters are identified as a headpiece, tailpiece or printer's ornament, depending on shape and position. Cellphone, Picasa, Photoshop, and other modern software apps and devices possess photo-manipulating functions which have the capability of editing images to create vignettes of varying styles and degrees of size and color.
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The title-pages of his different books show his further offices and dignities, as follows: 'Theological Dissertations by Capel Berrow, A.M. Rector of Rossington, Northamptonshire; Lecturer of St. Bennet's and St. Peter Paul's Wharf, and Chaplain to the Honourable Society of Judges and Serjeants in Serjeants' Inn,' 1782. This work was simply a binding-up together on his death of the unsold copies of his separately issued writings: #'Remarks on the Rt. Rev. Dr. Sherlock's Discourses on the Use and Intent of Prophecy: in a Letter formerly sent to his Lordship.' #'On Predestination, Election, Reprobation, and Future Punishments.
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Ticknor, 1864, p. 253Gardiner, p. 119 Title pages of the History of Ferdinand and Isabella, 1838 edition His work was disturbed in February 1829 by the unexpected death of his eldest daughter Catherine, who was only four years old. This led him to reconsider his position on religion—previously an agnostic, his interest in Christianity was renewed, and having read the Bible, the works of the theologian William Paley as well as more skeptical works such as Hume's Of Miracles, he came to acknowledge the "moral truth" of the gospels, while remaining opposed to the doctrines of orthodox Christianity.Ticknor, 1864, pp.
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The play was printed anonymously in three quarto editions during the period, in 1592 (Q1), 1599 (Q2), and 1633 (Q3). The last publication occurred in the same year as a broadsheet ballad written from Alice's point of view. The title pages do not indicate performance or company. However, the play was never fully forgotten. For most of three centuries, it was performed in George Lillo's adaptation; the original was brought back to the stage in 1921, and has received intermittent revivals since. It was adapted into a ballet at Sadler's Wells in 1799, and into an opera, Arden Must Die, by Alexander Goehr, in 1967.
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He was the son of a William Millington, a "husbandman" of Hamptongay, Oxfordshire, and was apprenticed to a Henry Carre for a period of eight years, beginning on St. Bartholomew's Day (24 August) in 1583. Thomas Millington became a "freeman" (full member) of the Stationers Company on 8 November 1591. For a time he was in partnership with fellow guild member Edward White; their shop was located, and their title pages specify, "at the little north door of Paul's at the sign of the Gun." Millington's business was at the lower end of the publishing scale in Elizabethan England; he printed many ballads, including some by Thomas Deloney.
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The elder Jaggard has seemed an odd choice to many commentators, given his problematical relationship with the Shakespeare canon: Jaggard issued the suspect collection The Passionate Pilgrim in 1599 and 1612, and in 1619 printed the so-called False Folio, ten pirated or spurious Shakespearean plays, some with false dates and title pages. It is thought that the printing of the First Folio was such an enormous task that the Jaggards' shop was simply needed to get the job done. (William Jaggard was old, infirm, and blind by 1623, and in fact died a month before the First Folio was complete.)Halliday, pp. 169–71, 249–50, 355–6.
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In 1906, W.A. Dwiggins began working for Merrymount Press on commission. A graphic artist who had studied under Frederic W. Goudy at the Frank Holme School of Illustration in Chicago, he joined Updike at a time when he was still growing as an artist. As Updike was exacting in his expectations, much of what Dwiggins submitted had to be redone or was rejected outright, but he soon become the preferred artist at Merrymount Press. Most of what Dwiggins contributed was completed between 1907 and 1912, including lettering, ornaments, borders, title pages, binding designs, endpapers, and illustrations. Some of his more notable work can be found in The Humanists’ Library series.
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In 1936 she curated the touring exhibition Abstract and Concrete, the first showing of abstract art, and of the work of Mondrian, in England. She taught at London's Central School of Art and Design 1964-81, where, with Nicholas Biddulph, she created the Central Lettering Record, an archive of lettering in every medium. Her books include Nineteenth century ornamented types and title pages (Faber & Faber 1938; 2nd edition, as Nineteenth century ornamented typefaces, 1976), Lettering on Buildings (1960), Lettering as Drawing: The Moving Line and Lettering as Drawing: Contour and Silhouette (both 1970), and A History of Lettering (Phaidon, 1976). She died in London on 8 June 1997.
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Ames made no pretence to literary merit, and his position in the Society of Antiquaries generated a degree of antagonism. Edward Rowe Mores described him as ‘an arrant blunderer’ and accused him, with justification, of tearing out the title-pages of rare books in his collection. Among the works he is thought to have thus mutilated is the British Library copy of William Tyndale's 1526 New Testament, one of only two textually complete copies known. Francis Grose said that the history of printing published under his name actually was written by John Ward of Gresham College, though the materials probably were collected by Ames.
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Slab-serif and sanserif types were rarely used for continuous bodies of text; their realm was that of advertisements, title-pages and other attention-catching pieces of print. By about 1820, most western countries were using modern romans and italics for continuous texts. This remained true until the 1860s, when so- called 'old style' faces--a largely English-speaking phenomenon--came into use. These went to the opposite extreme from the modern faces; 'thick' strokes were attenuated, and serifs at the end of thin strokes (as in C, E, L and T) were narrow and angled whereas in modern faces they were broad and vertical or nearly so.
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Early 19th-century editions of Encyclopædia Britannica included seminal works such as Thomas Young's article on Egypt, which included the translation of the hieroglyphics on the Rosetta Stone. Endpaper from the 7th edition The 7th edition was begun in 1827 and published from March 1830 to January 1842, although all volumes have title pages dated 1842. It was a new work, not a revision of earlier editions, although some articles from earlier editions and supplements are used. It was sold to subscribers in monthly "parts" of around 133 pages each, at 6 shilling per part, with 6 parts combined into 800 page volumes for 36 shillings.
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The 9th edition was a critical success, and roughly 8,500 sets were sold in Britain. A & C Black authorized the American firms of Charles Scribner's Sons of New York, Little, Brown and Company of Boston, and Samuel L. Hall of New York, to print, bind and distribute additional sets in the United States, and provided them with stereotype plates for text and graphics, specifications on the color and tanning quality of the leather bindings, etc., so the American- produced sets would be identical to the Edinburgh sets except for the title pages, and that they would be of the same high quality as the Edinburgh sets.
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With books there is more evidence, from title-pages. He was the cutter for the many illustrations and the printer of the books that Dürer was working on in his final years before his death in 1526: on geometry - the Art of measurement (1525) - and Fortification (1527), and Human Proportions (1528, for Dürer's widow). Dürer returned from his trip to the Netherlands in 1521 with a number of gifts for friends, including an "exceedingly large horn" for Andreae. A Dürer drawing in the British Museum (W 899) inscribed by the artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says.
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Hurst and Blackett was a publisher founded in 1852 by Henry Blackett (26 May 1825 – 7 March 1871), the grandson of a London shipbuilder, and Daniel William Stow Hurst (17 February 1802 – 6 July 1870). Shortly after the formation of their partnership Hurst and Blackett took over the business of the long established publisher Henry Colburn, for whom Daniel Hurst had worked for some years, and their earliest publications displayed "Successors to Henry Colburn" on the title pages. This was subsequently replaced by the epithet "Publishers since 1812", probably in reference to the date when Henry Colburn had commenced publishing. Four of Henry Blackett's sons became publishers.
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In 1776 Shaw was admitted to the Royal Society of Musicians and was a member of the Drury Lane band by 1778. From 1786 until the early 19th century he led the band, and Charles Dibdin thought him a much better leader than Covent Garden's Alexander Gottlieb Baumgarten. By 1790 Shaw had published some promising instrumental works and compiled an afterpiece opera, The Island of St Marguerite which premiered at Drury Lane on 13 November 1789. In 1791, he wrote an overture for the revival of Michael Arne's Cymon; both these overtures were published in parts, probably in the early 1790s to judge from their title pages.
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Between 1947–1949 Tschichold lived in England where he oversaw the redesign of 500 paperbacks published by Penguin Books, leaving them with a standardized set of typographic rules, the Penguin Composition Rules. Although he gave Penguin's books (particularly the Pelican range) a unified look and enforced many of the typographic practices that are taken for granted today, he allowed the nature of each work to dictate its look, with varied covers and title pages. In working for a firm that made inexpensive mass-market paperbacks, he was following a line of work — in cheap popular culture forms (e.g. film posters) — that he had always pursued during his career.
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This co-venture lasted only until 1567 however it enabled Plantin to acquire a house in the Hoogstraat which he named "De Gulden Passer" (The Golden Compass). This gesture mirrors the commercial success of publishing emblem books, which present collections of images paired with short, often cryptic, text explanations. It is also at this time that Plantin adopted a printer's mark which would appear in various forms on the title pages of all Plantin Press books. The motto Labore et Constantia ("By Labor and Constancy") surrounds the symbol of a compass held by a hand extending from a bank of clouds and inscribing a circle.
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Poster drawing for "Piano Study" On them followed other calendars, other title - pages, other covers, and posters. One advertising a piano course was a charcoal drawing of a demurely attentive boy and girl. Another for a linen sale set forth, in an admirable combination of a few colors, a mother in a white morning robe buttoning her little girl's starched frock beside an open bureau drawer wherein piles of embroidered garments could be seen. The two dainty figures were in themselves winning, but gathered artistic force from the child's carroty tresses against the pink-striped wall- paper, the flowered tester and hangings, the rich red brown of the old mahogany furniture.
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In the title of the account, the King of Great Britain is presented in superiority to the Emperor of China, King George III's name being printed in a dominating spaced type. Engravings printed next to the title pages of volumes 1 and 2 show the Qianlong Emperor and George Macartney, 1st Earl Macartney, respectively. Engraving of Lord Macartney, Volume Two An Authentic Account (1797) The general structure of the account follows the route of the mission and describes in a manner of neutral curiosity the experiences of the mission. The first two chapters of volume one cover the occasion of and the preparations for the embassy.
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Seite 21. After he had intended to abandon writing, pressured by what he saw as an existential threat from his having entered military service, Frisch started to write a diary which would be published in 1940 with the title "Pages from the Bread-bag" ("Blätter aus dem Brotsack"). Unlike his earlier works, output in diary form could more directly reflect the author's own positions. In this respect the work influenced Frisch's own future prose works. He published two further literary diaries covering the periods 1946–1949 and 1966–1971. The typescript for a further diary, started in 1982, was discovered only in 2009 among the papers of Frisch's secretary.
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The changes are both illustrated in the way the name of the author Sholem Aleichem is written. His own work uses the form שלום־עליכם but in Soviet publication this is respelled phonetically to שאָלעמ־אלײכעמ also dispensing with the separate final-form mem and using the initial/medial form instead. This can be seen, together with a respelling of the name of the protagonist of his Tevye der milkhiker (originally טביה, changed to טעוויע), by comparing the title pages of that work in the U.S. and Soviet editions illustrated next to this paragraph. Note also the Germanized מילכיגער (milkhiger) in the former exemplifying another widespread trend, daytshmerish, discussed further below.
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His views on the historical method of criticism can be illustrated in the following quote: > Ancient books coming down to us from a period many centuries before the > invention of printing have necessarily undergone many vicissitudes. Some of > them are preserved only in imperfect copies made by an ignorant scribe of > the dark ages. Others have been disfigured by editors, who mixed up foreign > matter with the original text. Very often an important book fell altogether > out of sight for a long time, and when it came to light again all knowledge > of its origin was gone; for old books did not generally have title-pages and > prefaces.
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He also often signs YΔROΣ or YΔROY, a translation of the German word natter, a water-snake. Georg Kaspar Nagler in his Künstler- Lexikon, and Heinrich Bolzenthal,Heinrich Bolzenthal, Skizzen zur Kunstgeschichte der modernen Medaillen-arbeit (1840), p. 251 followed in Edward Hawkins's Medallic Illustrations, gave Natter's forenames as "Johann Lorenz"; Natter on his gems and medals and on the title-pages of his publications used only the Christian name "Lorenz" (or Laurent, Laurentius, etc.). In Florence from 1732 to 1735 Natter had as patron Gian Gastone de' Medici, Grand Duke of Tuscany, for whom he made a portrait of the Grand Duke himself, and one of Cardinal Alessandro Albani.
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Tifinagh is preferred by young people as a symbol of identity and has popular support. It is especially popular for symbolic use, with many books and websites written in a different script featuring logos or title pages using Neo-Tifinagh. However, virtually no books or websites were being published in this alphabet, with activists primarily favoring Latin scripts for serious usage. Bilingual stop sign erected in Nador, Arabic: qif and Berber: ⴱⴻⴷⴷ (Bedd), it was erected in 2003 by the Nador municipality, and was removed by the Moroccan police within 24 hours Tifinagh has been criticized for not being practical to implement, and for being Kabyle-centric and not historically authentic.
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This is exemplified by Nozomu and Matoi consistently wearing a kimono and hakama (an obsolete style of Japanese school uniforms in the late 1800s), but is also evident in stylistic choices such as the anachronistic appearance of architecture, vehicles, and technology indicative of the Taishō period. However, the fashion of women typically follows the modern girl trend, which is a break from the Meiji period and signifies the style of the Taishō period. Chapter titles are oblique references to literature, modified to suit the needs of the chapter. The chapter title pages are drawn to resemble karuta cards, with an illustration in a silhouetted kiri-e style.
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Title page from an Intellivision video game, showing the game's name, a trademark notice, and copyright notices The title page in video games serves the same purpose, showing the game's name and any appropriate trademark and copyright notices. Some games require the player to press a button or a key to advance past the title page; other games display the title page for a set number of seconds before continuing, or display the title page until the game has finished loading. Video game title pages can be sparse affairs, like those of the Mattel Intellivision in the early 1980s, or can feature artwork and animation.
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Essay title pages in The Meat Fetish: Two Essays on Vegetarianism The pamphlet of The Meat Fetish: Two Essays on Vegetarianism opens with two pages of advertisements, the first page being a list of the Humanitarian League's New Series publications, and the second being a list of books and pamphlets by Crosby. It is then divided into two sections, with the essay by Crosby appearing before the essay by Reclus. Appearing at the end of the pamphlet is a second set of advertisements; the first page being a listing of the Simple Life Series publications, and the second page being a list of the Humanitarian League's Old Series publications.
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South and East exterior elevations Charles C. Thomas, a successful medical publisher, was the second owner and custodian of the home from 1944 to his death in 1969. A view of the building was featured on the title pages of some of his publications. His wife Nanette maintained in that role until her passing in 1975. The couple are credited with maintaining the house's original furnishings and design, and their estate with selling the home and its furnishings as a unit to the state of Illinois in 1981 for $1.0 million, significantly less than could have been earned had the household been broken up.
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Le Règne Animal (The Animal Kingdom) is the most famous work of the French naturalist Georges Cuvier. It sets out to describe the natural structure of the whole of the animal kingdom based on comparative anatomy, and its natural history. Cuvier divided the animals into four embranchements ("Branches", roughly corresponding to phyla), namely vertebrates, molluscs, articulated animals (arthropods and annelids), and zoophytes (cnidaria and other phyla). The work appeared in four octavo volumes in December 1816 (although it has "1817" on the title pages); a second edition in five volumes was brought out in 1829–1830 and a third, written by twelve "disciples" of Cuvier, in 1836–1849.
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According to Houbraken, who called him Reynier van Parzyn, he was married to the granddaughter of the stained glass painter Wouter Crabeth I, whose son Wouter Crabeth II he probably knew from his time in Rome, where they were both members of the Bentvueghels. Dirk en Wouter Crabeth biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature His bent or nickname was Narcissus (Daffodil). He settled in 1645 in Gouda, where his wife was born. He was a student of Cornelis Bloemaert and learned the art of publishing book title pages from Theodor Matham, son of Jacob Matham.
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Title page of Mrs Mary Eales's Receipts (1718 edition) Mary Eales (died ' 1718) was a writer of the cookery and confectionary book Mrs Mary Eales's Receipts, published in 1718. The little that is known about her life is from the title pages of the various editions of her book. It is possible she died in 1718, but it is certain she was dead by 1733, when editions of her book referred to her as "the late ingenious Mrs Eales". Although her book stated she was the confectioner to King William and Queen Anne, there is no record of her in the accounts of the royal household.
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In June 1961 George Maciunas, who had already begun plans to publish a magazine in the autumn of the same year, designed the book's layout and title pages, while others, including Mac Low, produced the typescript for the works themselves. Although it can be arguedFluxus Reader by Ken Friedman that An Anthology is not strictly a Fluxus publication, its development and production was a central event in the formation of Fluxus. It was the first collaborative publication project between people who were to become part of Fluxus: Young (editor and co-publisher), Mac Low (co-publisher) and Maciunas (designer). The art dealer Heiner Friedrich issued a second edition in 1970.
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1954, p 141 Their names all appeared on the title pages as co-publishers, though one of the major publishing houses usually took the lead in setting the deal up. Prior to the Statute of Anne, the Conger (often seen capitalized) also had an effect on copyright. After the printing became common, publishers took the position that having purchased a work from an author, the right to control its publication continued permanently. Courts supported the claim via precedent, until the Statute was passed early in the 18th century, after which it was law that literary works went into the public domain after a fixed time set by statute.
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Kuhn, Lewin, and McNulty, "Neil W. Chamberlain", pp. 143–145. His 1951 textbook Collective Bargaining presented some of these ideas and was twice later republished in revised editions. His work on strikes, which was published in two books, Social Responsibility and Strikes (1953) and The Impact of Strikes: Their Social and Economic Costs (1954), was done in collaboration with Jane Metzger Schilling, an assistant in research at the center and a doctoral student in the Department of Economics at YaleTitle and facing title pages of Social Responsibility and Strikes and The Impact of Strikes; Chamberlain, Intellectual Odyssey, p. 18. who was working on research into invention and innovation and into the scope of bargaining units.
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After all allowance has been made for textual corruptions, it cannot be said that the Love-sick King is a work of much ability; and it is rash to follow Kirkman, Baker, and Halliwell in identifying Antony Brewer with the "T. B." whose name is on the title-page of the Country Girl (1647), a well-written comedy, which in parts (notably in the third act) closely recalls the diction and versification of Massinger. There is no known dramatist of the time to whom the initials T. B. could belong. There was a versatile writer named Thomas Brewer, and the title-pages to his tracts are usually signed with his initials, not with the full name.
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Title pages of the edition of the collected edition of Addison and Steele's The Spectator Despite a modest daily circulation of approximately 3,000 copies, The Spectator was widely read; Joseph Addison estimated that each number was read by thousands of Londoners, about a tenth of the capital's population at the time. Contemporary historians and literary scholars, meanwhile, do not consider this to be an unreasonable claim; most readers were not themselves subscribers but patrons of one of the subscribing coffeehouses. These readers came from many stations in society, but the paper catered principally to the interests of England's emerging middle class—merchants and traders large and small. The Spectator also had many readers in the American colonies.
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Mason's annotated translations of Plato's dialogues in everyday English were published anonymously by Charles Scribner's Sons beginning in 1879, with a book titled Socrates that included translations of the Apology, Crito, and parts of Phaedo. The book also included an introduction by William Watson Goodwin, professor of Greek at Harvard University. This book was followed by A Day in Athens With Socrates (1883; includes translations from Protagoras and The Republic), Talks with Socrates About Life (1886; Gorgias and The Republic), and Talks with Athenian Youths (1891; Charmides, Lysis, Laches, Euthydemus, and Theaetetus). Although her name did not appear on the title pages of any of these books, her identity as the translator was known to librarians by 1880.
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As a collection the publication had no official character. The only recognized exception to this assertion is the first volume of a collection of his own bulls which was sent by Benedict XIV in 1746 to the University of Bologna to serve as a fons iuris, or source of legal principles. Secondly, it was never seriously maintained, despite some pretentious title pages, that these collections were in any sense complete, or that they even contained all the constitutions of more general interest. Thirdly, it was the intention of the editors, at least at first, rather to exclude than to include the papal pronouncements which had already been incorporated into the text of canon law.
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Among other portraits engraved by Payne were those of Bishop Joseph Hall, Bishop Lancelot Andrews, Sir Edward Coke, Hobson the Carrier, Sir James Ley, Christian of Brunswick, &c.;, and among the title-pages those to The Works of John Boys, D.D., 1629, and to Gerarde's Herball, 1633. Antony Gerard wrote Payne's biography in the Oxford Dictionary of National Biography and stated in it that "Payne's fifty-three known plates, which bear dates between 1620 and 1639, and most of which are portrait frontispieces or title-plates to books, vary widely in quality. The worst are no better than those of many contemporaries, but the best, such as the portrait of Sir Benjamin Rudyerd of 1632, are outstanding".
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Third edition dated 1797 The third edition was published from 1788 to 1797 in 300 weekly numbers (1 shilling apiece); these numbers were collected and sold unbound in 30 parts (10 shilling, sixpence each), and finally in 1797 they were bound in 18 volumes with 14,579 pages and 542 plates, and given title pages dated 1797 for all volumes. Macfarquhar again edited this edition up to "Mysteries" but died in 1793 (aged 48) of "mental exhaustion"; his work was taken over by George Gleig, later Bishop Gleig of Brechin (consecrated 30 October 1808). James Tytler again contributed heavily to the authorship, up to the letter M.George Gleig in the foreword to Encyclopædia Britannica Third Edition, 1797, Vol.1, p.
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The AER can enforce industry compliance with regulations using tools that include more frequent and detailed inspections, more stringent planning requirements, enforcement orders, shutting down operations, administrative penalties,Fines under the Responsible Energy Development Act are limited to $500,000 or less for a corporation and $50,000 or less for an individual. and prosecution. The AER regularly posts details of compliance activities on the AER website, which also includes copies of all investigation reports. Since the Energy Resources Conservation Board (ERCB) was succeeded by AER, as part of their succession title pages of all existing ERCB directives such as Directive 074 regarding oil sands tailings ponds performance dated 3 February 2009, now carry the AER logo.
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In, for example, the 1659 collection of Richard Brome's works, Five New Plays (also published by Crooke), the plays have separate title pages, and three are misdated "1658." It is generally thought that the booksellers of the mid-seveneteenth century designed their collections so that the plays could be sold either individually or collectively, as market conditions warranted; and that practical and financial constraints sometimes extended the preparation of a collection over more than one calendar year. No evidence indicates that The Prisoners was ever issued in a single-play edition, either in 1640 or at any other time in the seventeenth century. The misdating phenomenon recurs in the publication history of The Prisoner.
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In the absence of other evidence, it is not usually worthwhile to speculate on the identity of a cutter based on style or quality,Of the prints, that is - a study by Laschitzer of the Maximilian blocks found that differences between individual cutters' techniques were much more evident on the blocks than in the prints. so many single prints cut by Negker during these years probably remain untraceable in the large production of the period. With books there is more evidence, from title-pages. He is attributed with the cutting of the German chiaroscuro woodcut with the largest number of different colour blocks, a seven-block coat of arms by Hans Weiditz (1520) used as a book frontispiece.
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Willobie his Avisa was licensed for the press by printer John Windet on 3 September 1594. In the printed text, the poem is preceded by two commendatory poems, the second of which, signed "Contraria Contrariis; Vigilantius; Dormitanus," contains a reference to Shakespeare's poem The Rape of Lucrece, published four months previously: :"Yet Tarquyne pluckt his glistering grape, :And Shake-speare paints poore Lucrece rape." This is the earliest known printed allusion to Shakespeare by name (aside from the title pages of Venus and Adonis and Lucrece). The poem itself concerns a female character, Avisa (whose name is explained in Dorrell's "Epistle to the Reader" as an acronym for Amans Uxor Inviolata Semper Amanda).
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These stories appear to be metafictional in relation to the rest of the series, and were originally planned by Ransome (see below) as stories written by the children. The final published works, however, are presented simply as continuing adventures in the series, though different in a number of ways. Most obvious is the inclusion of fear and violence (which is mostly absent from rest of the series) and the extended voyages would have taken the children from school for unacceptably long periods. Both books are described on their title pages as "based on information supplied by the Swallows and Amazons", a description which is absent from the rest of the books in the series.
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The volume consists of five tracts with separate title- pages, viz.: # 'Divers new Experiments;' # 'Diverse new Sorts of Soyle not yet brought into any Publique Use;' # 'Chimical Conclusions concerning the Art of Distillation;' # 'Of Moulding, Casting Metals;' # 'An offer of certain New Inventions which the Author proposes to Disclose upon reasonable Considerations.' The second of these tracts, which was also issued separately, contains notes by Plat on manures, and the last tract deals with miscellaneous topics, like the brewing of beers without hops, the preservation of food in hot weather and at sea, mnemonics, and fishing. Another edition appeared in 1613, and a revised edition, dedicated to Bulstrode Whitelocke, was prepared in 1653 by 'D.
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In 1946, Hogarth came under the control of Chatto and Windus, and in 1969 Chatto and Windus joined Jonathan Cape, becoming part of Random House in 1987. One of the earliest books in the series was a second impression of Laurie Lee's "The Sun my Monument" originally published by the Hogarth Press in 1944 in its "New Hogarth Library" series and other poets are represented in both series. The Phoenix Living Poets series was started by Chatto & Windus with some continuity of poets from the earlier series and this imprint was maintained throughout the years of publication. Typically the title pages of the Phoenix Living Poets series show both 'Chatto and Windus' and 'The Hogarth Press' together.
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Singer and Wolfner regarded as expressly important the value of the fine arts in publishing and for this reason emphasized well-prepared illustrations for carefully arranged articles. Some title pages and illustrations gave some publications practically an artistic value. After the death of Jozsef Wolfner in 1932, his son, István Farkas, took over the reins of the publishing house. In addition to his work in the company, he painted as wellIstván Farkas, Painter, Books and Magazines Publisher, an Outstanding Representative of the Twentieth Century Hungarian and European Paintings and my Savior during the Siege of Budapest by Andrew P. Fodor and as a result, the artistic aspect of publishing assumed an increasingly important role.
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Aside from the one-time publication of Mary Worth comic-strip reprints, romance as a comic-book genre was the brainchild of Joe Simon and Jack Kirby, two comics artists known for their superheroes, such as Captain America, and their kid gangs, such as the Young Allies. Simon was serving in the United States Coast Guard when he got the idea for romance comics: "I noticed there were so many adults, the officers and men, the people in the town, reading kid comic books. I felt sure there should be an adult comic book." Simon developed the idea with sample covers and title pages and called his production Young Romance, the "Adult Comic Book".
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Little is known about his life but what can be read on the title pages of his publications, and found in a few records in cathedral archives in Lorraine. In 1554, he was in Toul working as a choirmaster, as stated on the title page of two volumes of sacred music published by Parisian Nicolas Du Chemin. However, he had a considerably earlier start as a composer, since some of his secular music had been published already in Lyon in 1539. One of these same songs was also published simultaneously in Paris, and attributed to the young Pierre Certon, a composer with a similar musical style as well as a similar name.
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Beginning with volume XXIV, Arabic "serial numbers" were also printed on the backs of the books issued, although these numbers were not included on the title pages, and are therefore not universally used in citations.National Archives M1026, p. 9. ; Series I — Military OperationsContent descriptions from National Archives M1026, p. 7. : Formal reports, both Union and Confederate, of the first seizures of United States property in the southern States, and of all military operations in the field, with the correspondence, orders, and returns relating specially thereto (Serial Nos. 1-111) ; Series II — Prisoners : Correspondence, orders, reports, and returns, Union and Confederate, relating to prisoners of war and (so far as the military authorities were concerned) to State or political prisoners (Serial Nos.
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One of the reasons for the appeal of these abridgements was their ability to tell the same story as a three to four volume novel in 36 or 72 pages, successfully bringing the characters to the altar or to the grave. The fiction was highly predictable, and readers could hardly miss the point of the story because the narration was straightforward. Given their reasonable prices, they were said to have been sold by 'every other bookseller in the United Kingdom' and therefore, readily available. Gothic bluebooks lured the consumer with engravings and woodcuts on their title pages and frontispieces; these illustrations were often fearsome, with a prototypical image being that of a maiden in flight down a dark path glancing over her shoulder.
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Printing did not become common in the Islamic world until the 19th century.Watson, William J., "İbrāhīm Müteferriḳa and Turkish Incunabula", Journal of the American Oriental Society, 1968, volume 88, issue 3, p. 436 Jews were banned from German printing guilds; as a result Hebrew printing sprang up in Italy, beginning in 1470 in Rome, then spreading to other cities including Bari, Pisa, Livorno, and Mantua. Local rulers had the authority to grant or revoke licenses to publish Hebrew books,"A Lifetime's Collection of Texts in Hebrew, at Sotheby's", Edward Rothstein, New York Times, February 11, 2009 and many of those printed during this period carry the words 'con licenza de superiori' (indicating their printing having been licensed by the censor) on their title pages.
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In England there are only three bodies entitled to print the Book of Common Prayer: the two privileged presses (Cambridge University Press and Oxford University Press), and The Queen's Printer. Cambridge University Press holds letters patent as The Queen's Printer and so two of these three bodies are the same. The Latin term ' ("with privilege") is printed on the title pages of Cambridge editions of the 1662 Book of Common Prayer (and the King James Version of the Bible) to denote the charter authority or privilege under which they are published. The primary function for Cambridge University Press in its role as Queen's Printer is preserving the integrity of the text, continuing a long-standing tradition and reputation for textual scholarship and accuracy of printing.
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After Dürer's death he became important as a printer and publisher of music, and a designer of musical type – in this field he tends to be known as "Hieronymus Formschneider", the name used on his title-pages. He published music in a partnership lasting between 1533-1550 with the bookseller Hans Ott, their respective roles probably falling into the typical modern ones of printer and publisher. Their most ambitious production was the Novum et insigne opus musicum, a two volume anthology of one hundred motets published in 1537-1538, of which 177 examples survive, more than any other such work published before 1550.Gustavson, Royston Robert, Hans Ott, Hieronymus Formschneider, and the Novum et insigne opus musicum (Nuremberg, 1537-1538) Dissertation abstract.
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Hebrew Printing in America, 1735-1926, A History and Annotated Bibliography () is a history and bibliography of Hebrew books printed in America between 1735 and 1926 by Yosef Goldman, with research and editing by Ari Kinsberg. It records 1208 items, annotated with bibliographical information, historical context, scholarly references, approbations, and location of copies in libraries worldwide. The bibliography is chronologically arranged within broad subject or format (e.g., Bible, liturgy, Haggadah, reference works, education, periodicals, Rabbinica, etc.) with 13 indexes, including Hebrew and English titles and authors, imprint places and years, publishers, printers, approbations, subscribers, typesetters, music arrangers, and artists; as well as reproductions of most title pages and selected interior pages, and appendices containing reproductions of relevant manuscripts and portraits of early American rabbis.
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Almost all early references to Henryson firmly associate his name with Dunfermline.These are all posthumous references, such as on the title pages of the early printed editions of his work that started to appear after his lifetime. He probably had some attachment to the city's Benedictine abbey, the burial place for many of the kingdom's monarchs and an important centre for pilgrimage close to a major ferry-crossing en route to St Andrews. Direct unconfirmed evidence for this connection occurs in 1478 when his name appears as a witness on abbey charters.The dates are 18 and 19 March and 6 July 1478 and the signature is Magistro Roberto Henrison publico notario. See McDiarmid, M.P. 1981: Robert Henryson, Scottish Academic Press, p.3.
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Shakespeare's name was hyphenated on the cover of the 1609 quarto edition of the Sonnets. In his surviving signatures William Shakespeare did not spell his name as it appears on most Shakespeare title pages. His surname was spelled inconsistently in both literary and non-literary documents, with the most variation observed in those that were written by hand.. This is taken as evidence that he was not the same person who wrote the works, and that the name was used as a pseudonym for the true author.: "The main contention of these anti-Stratfordians is that 'William Shakespeare' was a pen-name, like 'Molière,' 'George Eliot,' and 'Mark Twain,' which in this case cloaked the creative activities of a master scholar in high circles".
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All three title pages state that the play was acted by the Children of the Blackfriars. This company of boy actors had originated as the Children of the Chapel, and went through a series of name changes during its tempestuous career; the version of the name used in a given case can help to date a performance or production. In this case, it is thought that The Case is Altered was printed in 1609 because it had recently been revived by the boys' troupe playing at the Blackfriars Theatre. It is not known what company may have performed the original version of the play before 1599 (The Children of the Chapel were not active in dramatic performance in 1597–98).
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In 1996 succeeded in founding Austria's first CSD parade, called Rainbow Parade, in supporting the first public blessing of a lesbian couple in an Austrian church and in staging the Dornbirn Forum - against heavy opposition of the local mayor, the catholic Vicar general and large parts of the population of Vorarlberg. Nine title pages and more than 300 letters to the editors of the local newspapers resonated the public outrage. A public reading of selected letters to the editors, held in Vienna by eight prominent personalities and organized by the ÖLSF, infuriated the local opposition even more. In late summer of 1996 the ÖLSF - due to demands from many same sex couples - installed a Blessing Hotline, that promised them to find a priest of their confession.
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He was in time ordained, and took the degree of B.D., and obtained the prebend of Kilbragh, in the cathedral of Cashel, and the rectory of Templetuohy. Irish was his native tongue, and in 1849 he was appointed professor of that language in the university of Dublin, and held the office till 1861. While holding this office he wrote a preface to a small Irish grammar by Mr. C.H.H. Wright, and An English-Irish Dictionary, intended for the use of Students of the Irish Language (Dublin 1855). This work was based on a dictionary prepared early in the nineteenth century by Thaddeus Connellan, but published without a date, long kept in sheets, and issued in Dublin from time to time with a variety of false title-pages.
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These volumes, in addition to the previous two title pages in different languages (Latvian and French), received one more in Russian. Although Visendorfs took no part in editing and arranging the texts, his contribution performing organisational tasks, reading the preprints of the volumes published in St. Petersburg and providing his advice was significant enough to earn a place for his name on the title page, although Prof. Pēteris Šmits objected to it. In 1893 Krisjanis Barons returned to Latvia with his Cabinet of Folksongs, at that time containing around 150,000 texts. The index to LD shows more than 900 contributors, among them 237 male informants, 137 female informants, while of collectors only 54 are laies, at least 150 were school teachers, 50 were men of letters and 20 were priests.
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Thomas Hardy's account of the trials, 1794 Treason Trials, which were prompted by the verdict in Paine's trial Although it failed to sway the jury, Erskine's speech was given a rapturous response. After he left the court, he was confronted by a mob that cheered him and shouted, "Damn Tom Paine, but Erskine for ever, and the Liberty of the Press; the King, the Constitution, and Erskine for ever". The crowd proceeded to unhitch the horses from his carriage and carry the carriage (with him inside) to his lodgings at Serjeant's Inn. Over 30 transcripts or reports of the trial were printed, all of which contained Erskine's speech, and many editions emphasised Erskine's name and the theme of his speech on the title pages, using it to sell copies.
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The format and typography of Mumbo Jumbo are unique and make allusion to several typographic and stylistic conventions not normally associated with novels. The text begins and ends as if it were a movie script, with credits, a fade-in, and a freeze-frame followed by the publication and title pages which occur after chapter one. This is followed by a closing section that mimics a scholarly book on social history or folk magic by citing a lengthy bibliography. In addition, the tale is illustrated with drawings, photographs, and collages, some of which relate to the text, some of which look like illustrations from a social-studies book on African-American history, and some of which seem to be included as a cryptic protest against the Vietnam War.
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A common practice was the removal of not just the letters І, Ѳ, and Ѣ from printing offices, but also Ъ. Because of this, the usage of the apostrophe as a dividing sign became widespread in place of ъ (e.g., под’ём, ад’ютант instead of подъём, адъютант), and came to be perceived as a part of the reform (even if, from the point of view of the letter of the decree of the Council of People's Commissars, such uses were mistakes). Nonetheless, some academic printings (connected with the publication of old works and documents and printings whose typesetting began before the revolution) came out in the old orthography (except title pages and, often, prefaces) up until 1929. Russian – and later Soviet – railroads operated locomotives with designations of "І", "Ѵ" and "Ѳ".
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According to Houbraken, who mentioned him in passing with a list of painters from Dordrecht, he first learned from Cornelis Bisschop, and later became a pupil of Jan de Baen, who taught him portrait painting. Jacob van der Roer van Dordrecht Biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature He travelled to London and couldn't compete with Godfrey Kneller as a portrait painter, but Kneller hired him to paint clothing and less important parts of Kneller's paintings.Jacob van de Roer in Abraham van der Aa Roer van Dordrecht returned to Dordt and later died in the Gasthuis there. According to the RKD he was a pupil of Godfrey Kneller and is only known as a draughtsman of decorations on title pages.
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Like Ramacharaka, Vishita was listed as a regular contributor to Atkinson's Advanced Thought magazine, but his books were published by the Advanced Thought Publishing Company, not by the Yogi Publication Society, which handled the Ramacharaka titles. Swami Panchadasi titles Despite the popularity of his Yogi Ramacharaka and Swami Bhakta Vishita series, the work that Atkinson produced under his third Hindu-sounding pseudonym, Swami Panchadasi, failed to capture a wide general audience. The subject matter, Clairvoyance and Occult Powers, was not authentically Hindu, either. Theron Q. Dumont titles As Theron Q. Dumont, Atkinson stated on the title pages of his works that he was an "Instructor on the Art and Science of Personal Magnetism, Paris, France"—a claim manifestly untrue, as he was an American living in the United States.
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Patrick Simson, The Historie of the Church since the Dayes of our Saviour Iesus Christ, untill this present age (London, 1624). The title pages of the Short Compend also refer to Marie Stewart by quoting Luke 10:42, "Marie hath chosen the good part, which shall not be taken away from her" from the story of Mary and Martha.Patrick Simson, Short Compend of the historie of the first ten persecutions (Edinburgh: Andrew Hart, 1616). Referring again to her conversion, Patrick's brother, the minister Archibald Simson dedicated his "True Record of Life and Death of Master Patrick Simsone" to Marie and her daughter-in-law, writing in March 1619 that Patrick Simson had been the "happy instrument of God to begett your Ladyships as a spiritual father in Jesus Christ".
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Shakespeare's honorific "Master" was represented as "Mr." on the title page of The Rape of Lucrece (O5, 1616). The historical record is unequivocal in ascribing the authorship of the Shakespeare canon to a William Shakespeare.. In addition to the name appearing on the title pages of poems and plays, this name was given as that of a well-known writer at least 23 times during the lifetime of William Shakespeare of Stratford.. Several contemporaries corroborate the identity of the playwright as an actor,. and explicit contemporary documentary evidence attests that the Stratford citizen was also an actor under his own name.. In 1598, Francis Meres named Shakespeare as a playwright and poet in his Palladis Tamia, referring to him as one of the authors by whom the "English tongue is mightily enriched".; .
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Like most printers of his historical period, Okes concentrated on printing, and left publishing decisions to the booksellers who commissioned jobs from him. And yet, again like most printers of the era, Okes did a limited amount of publishing himself. (Booksellers and printers were all members of the Stationers Company, and could publish books and other works; but the practicalities of the retail book business made booksellers the logical and primary publishers.) Okes's title pages identify his business as "near Holborn Bridge" and "in Foster Lane." Okes published the first quartos of Heywood's Age quintet: The Golden Age (1611), The Silver Age (1613), The Brazen Age (1613) and his The Iron Age, Parts 1 and 2 (1632), as well as the first and second quarto of Heywood's The Four Prentices of London (1615, 1632).
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Requiem is an old-style serif typeface designed by Jonathan Hoefler in 1992 for Travel + Leisure magazine and sold by his company, Hoefler & Co.. The typeface takes inspiration from a set of inscriptional capitals found in Ludovico Vicentino degli Arrighi's 1523 writing manual, Il Modo de Temperare le Penne, and its italics are based on the chancery calligraphy, or cancelleresca corsiva of the period. Like many other typefaces designed by Hoefler & Co., the family is large, intended for professional use. It is designed with three separate optical sizes of font, intended for different sizes of text, as well as two different styles of capitals inside cartouches intended for title pages and frontispieces. It also contains fleurons and italic ligatures inspired by calligraphy, as well as stylistic alternates such as an alternative 'Y' character.
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It was in these books that Inglis displayed her talents and skills, introducing impressive drawings on the title pages and establishing creative borders on each page of text. The manuscripts were said to be so magnificently made that they looked as if they were printed works, rather than being completely hand drawn. It was also around this time period that because print became more widely available as a growing technology, hand-made manuscripts were becoming more and more valuable. Among all of the manuscripts during this era, Inglis's books are important because they were very tiny in size, with the smallest manuscript measuring one and a half inches by two inches or two inches by three inches, such as the Argumenta Psalmorum Davidis of Plate 8, dedicated to Henry Frederick, Prince of Wales in 1608.
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Stothard's principal publication was The Monumental Effigies of Great Britain; selected from our cathedrals and churches for the purpose of bringing together, and preserving correct representations of the best historical illustrations extant, from the Norman Conquest to the reign of Henry the Eighth, a folio volume containing many etched plates. He began to issue it in parts in 1811, but it remained unfinished at his death. His widow, Anna Eliza, brought it to completion, with the assistance of four different etchers (who produced the remaining plates from Stothard's original drawings), and her brother, Alfred John Kempe (who provided additional text, based in part on Stothard's own notes). The complete volume finally appeared in 1832, although it contains two title pages, one dated 1817 and the other 1832, which has sometimes caused bibliographical confusion.
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Bernard McMahon or M'MahonHis name is given as M'Mahon on his title pages. (Ireland ca 1775 — Philadelphia, 18 September 1816) was an Irish-American horticulturist settled in Philadelphia, who served as one of the stewards of the plant collections from the Lewis and Clark expedition and was the author of The American Gardener's Calendar: Adapted to the Climates and Seasons of the United States (1806 and following years).Ann Leighton, American Gardens in the Eighteenth Century: 'For Use or for Delight' (University of Massachusetts Press) 1986, pp319–322; Allen Lacy explores the Calendar in his essay "Bernard M'Mahon's Declaration of Independence", collected in Farther Afield: A Gardener's Excursions (Macmillan) 1986. He circulated the first extensive gardener's seed list in the United States, which he attached as an appendix to his Calendar.
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His designs were engraved by Pierre Lombart, William Faithorne, and Wenceslaus Hollar, and were so much admired that the king of France had those for Virgil copied in a special edition of his own. Cleyn etched title-pages for E. Montagu's Lacrymæ Musarum (1650), Thomas Fuller's A Pisgah-sight of Palestine (1650), a frontispiece to Lysis, or the Extravagant Shepherd, and perhaps the etchings in the 1654 and 1660 editions of that work. He published in the form of grotesques some sets of original etchings, namely Septem Liberates Artes (1645), Varii Zophori Figuris Animalium ornati (1645), Quinque Sensuum Descriptio (1646); and a friend and contemporary artist, a Mr. English, etched some grotesques (1654), and a humorous piece from Cleyn's designs. There are other etchings in the print room at the British Museum, attributed with great probability to Cleyn.
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This Roman edition of the bullarium, which still remains the most accurate and practically useful, bears on the title pages of its thirty-two volumes, the name of the publisher, Girolamo Mainardi, while the dedications to the cardinals prefixed to the different volumes and extending from 1733 to 1762 are also signed by him. The arrangement of the volumes, however, is peculiar, and the neglect to indicate these peculiarities has made the accounts given to this edition in most bibliographies almost unintelligible. Mainardi began with the idea of printing a supplement to the latest Roman edition of Cherubini's bullarium. As this was six volumes and stopped short at the pontificate of Clement X (1670–76), Mainardi called his first published volume Tome VII, and reprinted the bulls of Clement X from the beginning of his pontificate to his death.
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It contained exercises and duets composed by Curwen herself and by composers John Kinross and Felix Swinstead.Kinross and Swinstead are mentioned only by surname in a list of materials given on an unnumbered page after page 11 of an addendum after the end of the main 387 page text of her Teacher's Guide. Their forenames are included on the title pages of individual step titles of Mrs Curwen's Pianoforte Method — see Mrs Curwen's Pianoforte Method 2nd Step (Kinross) and Mrs Curwen's Pianoforte Method 2nd Step (Swinstead) She wrote in a preface to the 16th edition, published in 1913, that she had based her system on a similar work by her father-in-law, John Curwen, for singing classes. Instructions for lessons were contained in the Teacher's Guide but omitted from the edition for the child student.
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The next year (1800) Brewer published a pamphlet, The Rights of the Poor, dedicating it to "Men who have great power, by one without any" and this received copious notice in the Gentleman's Magazine (lxx. 1168 et seq.). He was writing at this time also in the European Magazine, among his contributions being Siamese Tales and Tales of the 12 Soubahs of Indostan; and some essays, announced as after the manner of Goldsmith, which were collected and published by subscription in 1806 as Hours of Leisure. In 1808 Brewer produced another two-volume tale, The Witch of Ravensworth, and at about the same time he published The Juvenile Lavater, stories for the young to illustrate Le Brun's "Passions", which bears no date, but of which there were two or more issues, with slightly varying title-pages.
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She became one of the best known of the younger generation of movie stars in East Germany. In the "workers' film", "Das Lied vom Trompeter" she was appearing beside established stars such as Rolf Römer, Günther Simon and Jürgen Frohriep; but it was her role alongside Gunter Schoß in the television version of "Egon und das achte Weltwunder", based on the eponymous best-selling novel by Joachim Wohlgemuth, that most convincingly captured the life-style of the coming generation. Directed by her then husband, the producer and screenwriter Horst Seemann (1937–2000), she became one of the nation's favourite young movie stars, featuring several times on the title pages of film magazines. Later in 1964 she embarked on a training period at the National Theatre school (as it was called at that time) in Berlin-Niederschöneweide, then moving on to the National Academy for Film and Television in Potsdam-Babelsberg.
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St.-Lukasgilde, Antwerpen 1855, p. 12-13 Lagye also worked in 1859 on decorations in Gaasbeek Castle depicting various episodes from Belgian history such as The burning of Gaasbeek by the French. Lagye further worked on decorative projects on the occasion of various national celebrations. For the national celebrations of 1856 he produced a large canvas depicting the Apotheosis of the Queen for the triumphal arch. For the celebrations on the occasion of the 50th anniversary of the founding of the Belgian state, Lagye designed the floats for the parade in Brussels together with Joseph Gerard and Gustaaf den Duyts.Jeroen Janssens, De Belgische natie viert: de Belgische nationale feesten, 1830-1914, Leuven University Press, 2001 Visiting the lawyer He designed the title pages and illustrations for several Flemish authors. He also designed the illustrations for an edition of the Belgian Constitution published in 1852.
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The Spiral Press worked with a variety of clients, including Henry Holt & Co., Random House, Robert Frost, The Limited Editions Club, The Museum of Modern Art, President Franklin Roosevelt, The Metropolitan Museum of Art, and the Pierpont Morgan Library. The press was also known for taking on a range of work: not only the invitations, bookplates, and limited editions expected for a small press but also typography for large trade editions, indicating the expanding interest in well-designed books. From the start, the Spiral Press found work doing typography, often for large publishers like Henry Holt who ordered designs for dust jackets, title pages, advertising, etc. Printing and composing were sometimes delegated to outside plants that had higher capacity, but for more exclusive jobs, the Spiral Press acquired production equipment such that Blumenthal could attend to every detail of typesetting, ink, paper, and presswork.
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27 January 2019 The name of Baertius is on the title pages of nine of the volumes of the Acta Sanctorum; the last four of May, and of the first five of June; but to judge from the articles published in these volumes his collaboration is by no means so large as these figures would indicate. There are no articles bearing his signature either in the volumes for May nor in the fifth volume for June. The other four volumes for June contain some fifteen articles by him, all very short excepting the commentaries on Saint Columba and Saint Basil the Great, of the date of 9 June. In 1688, in company with Father Conrad Janninck, he made a trip to Austria and Hungary in search of hagiographical material; the journey lasted eight months and the two returned with a large number of documents.
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Vitali played a bowed stringed bass instrument but, due to the shifting terminology in use at the time, this is referred to under various names. When he joined the orchestra of the San Petronio Basilica in 1658, his name was entered in the records of the orchestra under the heading ‘Violoni’, paid 10 lira.Alfred Planyavsky and James Barket: The Baroque Double Bass Violone However, in the records for 1664 he is referred to as ‘Suonatore di Violonline [sic]’. According to Bonta,Stephen Bonta: ‘Terminology for the Bass Violin in Seventeenth-Century Italy’, Journal of the American Musical Instrument Society; iv (1978), 5-42. ‘violonline’ refers to the same instrument as ‘violoncino’ – which is also mentioned in the 1658 list, but with no connection to Vitali. On the title pages of the first five of Vitali’s publications, he calls himself ‘Sonatore di Violone da Brazzo’ or ‘Musico di Violone da Brazzo’.
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Niederkorn, William S. "A Historic Whodunit: If Shakespeare Didn't, Who Did?" The New York Times. 10 February 2001 Since the 1920s, the Oxfordian theory has been the most popular alternative Shakespeare authorship theory.. The convergence of documentary evidence of the type used by academics for authorial attribution – title pages, testimony by other contemporary poets and historians, and official records – sufficiently establishes Shakespeare's authorship for the overwhelming majority of Shakespeare scholars and literary historians,:. and no such documentary evidence links Oxford to Shakespeare's works. Oxfordians, however, reject the historical record and claim that circumstantial evidence supports Oxford’s authorship, proposing that the contradictory historical evidence is part of a conspiracy theory that falsified the record to protect the identity of the real author.. Scholarly literary specialists consider the Oxfordian method of interpreting the plays and poems as autobiographical, and then using them to construct a hypothetical author's biography, as unreliable and logically unsound.
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In the course of rethinking the major developments in harmony found in the work of Stravinsky, Milhaud, Prokofiev, and Vaughan Williams as well as Bartók and other composers, Serly developed what he referred to as an enharmonicist musical language. In his book Modus Lacscivus (1975) he explored a set of 82 basic tertian chords. Serly titled several of his later works as being "in modus lascivus", including sonatas for violin, viola, and piano. (The 1973 edition of his piano sonata misspells the term "modus lascivus" on the cover, copyright, and title pages, putting the "s" and "c" in reverse order.) His Concertino 3 X 3 uses this compositional system, but is most memorable for its formal structure: it consists of nine movements, the first three for piano solo, the second set of three movements for orchestra without piano, and the final set combining the previous sets, played simultaneously.
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Samuel was the eldest son of John Pordage, a clergyman from Bradfield in Berkshire, by his first wife, and was baptised at St Dionis Backchurch, London, on 29 December 1633. He was educated at Merchant Taylors' School from 1644, and studied law at Lincoln's Inn. At the trial of his father ten years later he appears to have been one of the witnesses. In his title- pages he described himself as ‘of Lincoln's Inn’ and ‘a student of physick.’ He was at one time chief steward to Philip Herbert, 5th Earl of Pembroke. Roger L'Estrange attacked Pordage in the ‘Observator’ for 5 April 1682 on account of ‘A brief History of all the Papists' bloudy Persecutions,’ calling him ‘limping Pordage, a son of the famous Familist about Reading and the author of several libels,’ one against L'Estrange. Dryden, in the second part of ‘Absalom and Achitophel,’ published in November, described Pordage as > Lame Mephibosheth, the wizard's son.
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To the second impression of the Third Folio (1664) he added seven plays, namely Pericles, Prince of Tyre; Locrine; The London Prodigal; The Puritan; Sir John Oldcastle; Thomas Lord Cromwell; and A Yorkshire Tragedy. (See: Shakespeare Apocrypha.) All seven of these additional plays had been published as quartos while Shakespeare was alive, but only Pericles was eventually widely accepted into the Shakespearean canon.Wm. Allan Neilson & Ashley Horance Thorndike, The Facts About Shakespeare (NY, Macmillan, rev. ed. 1931) pages 157-158. The quartos of Pericles (1609 and 1611), The London Prodigal (1605) and A Yorkshire Tragedy (1608) were all attributed to William Shakespeare on their front pages. The quartos of Locrine (1595), The Puritan (1607) and Thomas Lord Cromwell (1602 and 1613) were attributed to W. S. on their title pages, but Shakespeare was not the only playwright with those initials; Wentworth Smith has been put forward as another possible author of these works.
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In 1975 Black attained his BPhil in Cuneiform Studies. For postgraduate studies, partly supervised by Edmond Sollberger of the British Museum, and with the continuing guidance of Gurney at Oxford, Black wrote his DPhil dissertation on "Ancient Babylonian Grammatical Theory", submitted in 1980 and later published under the title Sumerian Grammar in Babylonian Theory, Rome 1984, 2nd edition 1991. A.R. George has described it as "the only book-length examination of the linguistic thinking that underpinned the Babylonians' understanding of Sumerian". While completing his DPhil dissertation, Black took a position with St Catherine´s Foundation at Cumberland Lodge in Windsor Great Park. In 1981, however, he was enabled to return full-time to the field of Assyriology by his appointment to a Research Associate post at the Oriental Institute of the University of Chicago to work on the Chicago Assyrian Dictionary Project (see acknowledgement of his contribution on the title pages of volumes 17/Š [1989–1992] and 14/R [1999]).
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The New American Bible (NAB) is an English translation of the Bible first published in 1970. The 1986 Revised NAB is the basis of the revised Lectionary, and it is the only translation approved for use at Mass in the Roman Catholic dioceses of the United States and the Philippines, and the 1970 first edition is also an approved Bible translation by the Episcopal Church in the United States.The Canons of the General Convention of the Episcopal Church: Canon 2: Of Translations of the Bible Stemming originally from the Confraternity Bible, a translation of the Vulgate by the Confraternity of Christian Doctrine, the project transitioned to translating the original biblical languages in response to Pope Pius XII's 1943 encyclical Divino afflante Spiritu. The translation was carried out in stages by members of the Catholic Biblical Association of America (CBA) "from the Original Languages with Critical Use of All the Ancient Sources" (as the title pages state).
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There were eight volumes in folio format, meaning only two pages could be printed at one time. This work earned Plantin little profit, but resulted in Philip's granting him the privilege of printing all Roman Catholic liturgical books (missals, breviaries, etc.) for the states ruled by Philip, the title "Architypographus Regii," which he dutifully added to the title pages of Plantin Press books, and the unwanted duty of prototypo- graphus regius, obligating him to inspect and verify the skill and dogmatic adherence of other printers. Besides the Plantin Polyglot, Plantin published many other works of note, such as the "Dictionarium Tetraglotton" of 1562, which was a dictionary in Greek, Latin, French and Flemish, editions of St. Augustine and St. Jerome, the botanical works of Dodonaeus, Clusius and Lobelius, and the description of the Netherlands by Guicciardini. His editions of the Bible in Hebrew, Latin and Dutch, his Corpus juris, Latin and Greek classics, and many other works are renowned for their beautiful execution and accuracy.
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It is known that a John Holwell of Sampford was actually sequestered in 1655,Royalist Composition Papers, 1st ser. vol. lxxx. f. 159 but in 1652 a Captain John Holwell, probably the same person, appears as giving information against the papists to the officers of the Commonwealth,Royalist Composition Papers, 1st ser. vol. lv. ff. 361, 383 and there is no proof of his connection with Penruddock's plot. The same account states that after the Restoration, Holwell was made royal astronomer and surveyor of the crown lands, while his wife obtained a place at court, which is possible, and that he was preceptor to the Duke of Monmouth, which his age makes unlikely. He is further alleged to have written anonymously in support of the Exclusion Bill, and to have given such offence by his ‘Catastrophe Mundi’ that he was brought before the privy council, but to have defended himself so skilfully that no charge could be established against him. He usually described himself on the title-pages of his book as ‘philomath,’ and once as ‘teacher of the mathematicks and astrology’.
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Portrait of Tirso de Molina Twelve plays constitute the third part of his dramatic works which was published (before the second) in 1634, supposedly edited by the writer's nephew, "Francisco Lucas de Ávila", possibly a cover identity for himself. The second part (1635), the printing of which was paid for by the confraternity of St Jerome, contains four plays by Tirso de Molina, and eight written by him in collaboration with other dramatists; one of these collaborators was Juan Ruiz de Alarcón, but Tirso de Molina was the predominant spirit in these literary partnerships. The fourth and fifth parts of his dramatic works (1635 and 1636) each contain twelve plays; the haste with which these five volumes were issued indicates the author's desire to save some part of his work from destruction, and the appearance of his "nephew"'s name on the title-pages of the last four volumes indicates his desire to avoid conflict with the authorities. A sixth volume of dramatic pieces, consisting of light comedies, was announced; but the project was abandoned.
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