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Illustrated
It enjoyed many editions, ‘even becoming a textbook in colonial American colleges’ (Oxford DNB). Johnson’s contributions are the long Preface to volume I and ‘The Vision of Theodore the Hermit of Teneriffe, found in his Cell’ (II, 516–26), a piece which, by Johnson’s own admission, was ‘the best thing he ever wrote’ (Boswell, Life, I, 192). In this copy, the plate featuring six nudes (‘Drawing No. 9’) has been removed and the numbering of the subsequent four Drawings discreetly altered to avoid suspicion. This was evidently done at an early date. One wonders whether the Archbishop had it removed for reasons of propriety. see full details...
Mayer’s massive collection contains the work of over 40 authors and a valuable bibliographical survey of at least 100 others. It includes tales by Madame d’Aulnoy, Pierre-François Godard de Beauchamps, Charles Duclos, Antoine Hamilton, Antoine Galland, Mademoiselle de La Force, Mademoiselle Leprince de Beaumont, Madame Levesque, Mademoiselle Lheritier, Madame de Lintot, Mademoiselle de Lubert, le chevalier de Mailly, Madame de Murat, Charles Perrault and Jean-Jacques Rousseau. As Marina Warner has pointed out, within this corpus of tales of magic and enchantment, female authors outnumber male authors two-to-one (From the Beast to the Blonde, 1994). Mayer established this canon of wonder tales at the very moment when they were most threatened as a literary form. By 1789, the aristocratic salons which had given birth to this genre, were no longer to be taken for granted and tales of this type almost ceased to be published in France. Le cabinet des fées was Mayer’s attempt to preserve for posterity this remarkable corpus of popular literature. This is also an important illustrated book, with its 120 plates engraved by Pierre-Clément Marillier (1740-1808). These plates are especially interesting for their representation of oriental themes and characters, reflecting the very strong bias within the collection (and within this genre of French literature as a whole) for texts like Galland’s translation of Mille et une nuits set in the Near- and Far East. Marillier’s illustrations certainly reinforce the tendency to depict eastern culture as both alluring but dangerous and, incidentally, furnish the first properly illustrated version of Mille et une nuits (Hensher, ‘Engraving Difference: the representation of the Oriental Other in Marillier’s illustrations to the Mille et une nuits and other contes orientaux in Le Cabinet des fées (1785-89)’, Journal for Eighteenth-Century Studies 31, September 2008). see full details...
It deals with the raw materials, their preparation, manufacturing process and the dyes as well as the styles of hats. The plates, re-engraved for this Spanish edition are detailed depictions of the hatter’s craft with excellent workshop scenes. Like his French counterpart Nollet, Suárez y Nuñez was an enlightened polymath dedicated to the scientific exposition of crafts and industry. His magnum opus was the multi-volume Memorias instructivas, y curiosas: sobre agricultura, comercio, industria, economia, chyimica, botanica, historia natural, &c (1778-1791) translated from pioneering works published across Europe. see full details...
1731). “The tragedy, which dramatizes the struggle of George Castriot to defend Albania from Turkish conquest, takes as its source the 1721 English translation of Scanderbeg the Great by Anne de La Roche-Guilhem. In the light of the patriot whig opposition to Walpole, Whincop’s dramatic portrait of the Albanian hero whose ‘conqu’ring sword / Oppos’d the torrent of the tyrant’s power’ (Scanderbeg, 16) may well have been intended as a propaganda piece. However, Whincop’s play was never performed...” (Brayne in Oxford DNB). It also contains a “Compleat list of all the English dramatic poets, and of all the plays ever printed” [pp. 87-320] probably compiled by John Mottley, which includes Shakespeare, Milton, Dryden, Marlowe, Jonson, Beaumont, Fletcher, Otway, Waller, Cibber, Addison, Steele, and Garrick. “The Compleat List of All the English Dramatic Poets of 1747, appended to Thomas Whincop’s play Scanderbeg, appears to be by Mottley and is therefore his last known work: in the spirit of a reckoning up, he claims his portions of various collaborations and paternity of theretofore unacknowledged works; the entry on himself he made his own memorial” (J. M. Rigg, rev. Yvonne Noble, Oxford DNB). The list is illustrated with attractive portraits. see full details...
![WOODWARD, [George Murgatroyd].](/photos/596/main/596.jpg "WOODWARD, [George Murgatroyd].")
Like his drinking-partner Thomas Rowlandson, Woodward absorbed high and low culture omnivorously and paid keen attention to contemporary politics. A Political Fair is ‘a fantastic survey of the international situation’ in 1807 and is considered one of Woodward’s finest images, the print catalogue of the British Museum devoting two full pages to its complex allegories. At the heart of the fair is a large booth (‘The Best-Booth in the Fair’) representing Great Britain holding aloft on its platform images of Britannia, John Bull, together with an Irishman, Scotsman and Welsh harpist gathered convivially around a punchbowl, while a waiter sweeps into the chamber below with a vast joint of roast beef on his platter. All this was typical of Woodward’s patriotism and was intended to portray the essential unity of the nation amidst the host of clamouring figures in the neighbouring booths representing the other nations. Napoleon, in tricorn and feathers, rebuffs a disgruntled Dutchman complaining about his King with the words ‘I never change Mynheer after the goods are taken out of the Shop’. High up on the right, the American booth displays a placard advertising ‘Much ado about Nothing with the Deserter’, a reference to the friction between Britain and the United States over recent defections from British to American ships and the ban on armed British ships in American ports. The Danish booth on the left advertises ‘The English Fleet and The Devil to Pay’ in reference to the hideous bombardment of Copenhagen by the British fleet in September that year. Musical and theatrical references abound, with many of the placards punning on the titles of plays and musical performances then showing in London: Much ado about nothing, All’s well that ends well (Shakespeare), The Padlock (Bickerstaffe), The Deserter (Dibdin), The Double Dealer (on the Russian booth, by Congreve) and The English Fleet (Dibdin again). see full details...
![BO[UCHER], [Juste Nathan] F[rançois].](/photos/561/main/561.jpg "BO[UCHER], [Juste Nathan] F[rançois].")
![[JOHNSON, Samuel, contributor].](/photos/438/main/438.jpg "[JOHNSON, Samuel, contributor].")
![LOUVET DE COUVRAY, [Jean-Baptiste].](/photos/429/main/429.jpg "LOUVET DE COUVRAY, [Jean-Baptiste].")
![[OLIVIER, Abbé Jean.]](/photos/254/main/254.jpg "[OLIVIER, Abbé Jean.]")
![(THEATRE.) [SMITH, John and Robert SAYER, publishers].](/photos/457/main/457.jpg "(THEATRE.) [SMITH, John and Robert SAYER, publishers].")
![[VOLTAIRE, François-Marie Arouet de.]](/photos/433/main/433.jpg "[VOLTAIRE, François-Marie Arouet de.]")
