One of the most admired medical books of the Middle Ages, Medicina Antiqua is a compendium of popular Late Antique texts brought together in the 6th century. It contains writings on herbs and materia medica by authors heavily reliant on the works of Pliny and Dioscorides. Of the 50 surviving copies of this influential miscellany produced before the end of the Middle Ages, the present manuscripts is one of the most enticing. Executed in Southern Italy in the firt half of the 13th century, it is beautiful illustrated in vibrant body colour with plants, animals and scenes of medical treatments, faithfully drawn after late antique models. The facsimile of the complete manuscript is followed by an essay which sets the manuscript in the context of the history of medicine. Codicological information is also provided and all plants and animals are identified.

Our second volume begins with "Peanuts' third full year and a cast of eight: Charlie Brown, Shermy, Patty, Violet, Schroeder, Lucy, the recently born Linus, and Snoopy. By the end of 1954, this will have expanded to nine. Linus still doesn't speak (except, on a few occasions, to himself), but Schulz begins laying the foundation for his emergence as the most complex and arguably most endearing character in the strip: garrulous and inquisitive, yet gentle and tolerant. And he evens acquires his "security blanket" in this volume! Meanwhile, Lucy, an infant just a year ago, has forcefully elbowed herself to the front of the cast, proudly wearing her banner as a troublemaker or, in Schulz's memorable phrase, "fussbudget," The strong, specific relationships she sets up with each character further contributes to making her central to the strip. (She has earned her cover status on this volume.) Charlie Brown is clearly in transition. Although his eventual, best-known persona (the lovable, perpetually humiliated round-headed loser) is in evidence in many strips, his brasher, more prankish side as seen in the previous volume (foreshadowing Bill Watterson's future Calvin) shows up, too. This period's significant new character is Pigpen, who would remain one of the main cast members throughout the decade. And then there's Snoopy. To readers unfamiliar with the early days of the strip, Snoopy's appearances here will no doubt come as the biggest surprise. Although Snoopy has started thinking to himself, he does no imitations (except for one brief shark impression), he doesn't sleep atop his doghouse (much less type or fly a Sopwith Camel), and has no fantasy life--in fact, he doesn't even walkupright! But as we know, he is merely biding his time, and his evolution continues its fascinating course within these pages. This book collects 730 daily and Sunday comic strips, the vast majority of which are not currently available in any in-print "Peanuts collection, and over one hundred of which have never been reprinted since their initial appearance in papers over 50 years ago. "The Complete Peanuts is produced in full cooperation with United Media, Charles M. Schulz Creative Associates, and Mr. Schulz's widow, lean Schulz. Each volume in the series presents two years of strips along with supplementary material in a three-tier page format that accommodates three dailies or one Sunday strip per page. Award-winning graphic novelist Seth is designing the series so that each individual book is sharply recognizable and yet clearly part of a consistent series. Using archival-quality syndicate proofs for virtually every strip in its history, the series boasts the best-looking, crispest reproduction for a classic comic strip ever achieved. "Peanuts is the most successful comic strip in the history of the medium as well as one of the most acclaimed strips ever published. Charles Schulz's characters have become American icons. "A Charlie Brown Christmas is as much an annual holiday ritual for families as "It's A Wonderful life. A United Media poll in 2002 found "Peanuts to be one of the most recognizable cartoon properties in the world, recognized by 94 percent of the total U.S. consumer market and a close second only to Mickey Mouse (96 percent), and higher than other familiar cartoon properties like Spider-Man (75 percent) or the Simpsons (87 percent). In "T.V. Guide's "Top 50 GreatestCartoon Characters of All-Time" list, Charlie Brown and Snoopy ranked #8.

First publication of remarkable repainting of outstanding Mexican codex (priceless original is in Vatican Library), thought to have originated in the Cholula area, ca. a.d. 1400. Seventy-six large full-color plates show an astounding array of gods, kings, warriors, mythical creatures and abstract designs. A work of rare power and beauty now available in this inexpensive, high-quality edition. Introduction.

This is the fifth in a series of catalogues that present descriptions and complete cycles of illustrations of all existing manuscripts of the "Commentary on the Apocalypse" written by the 8th-century Spanish monk Beatus. The entire corpus, which spans the 9th to the 13th century, constitutes the greatest single tradition of Apocalyptic writing in the Middle Ages. All illustrations in these six manuscripts are reproduced and each catalogue entry discusses the location of production, the work of the outstanding illuminators and scribes, as well as details of codicology. A short introduction places the manuscripts in their historical context and analyzes the style of the miniatures. The volume includes a bibliography, relevant tables, and an index.

This book offers an opportunity to understand one man's view of a moment in medieval history. Professor Sandler identifies the compiler and scribe of the 1100-folio encyclopaedia, written and illustrated in the third quarter of the 14th century. James le Palmer's vast compilation of medieval learning, taken from different sources, covers topics such as theology, canon law, natural sciences, history of man, liberal arts, etc., and entries are arranged alphabetically.;Not only does this book discuss in detail the compiler, the contents, organization, sources and sequence of production of this manuscript, but the catalogue also lists every entry, and reproduces the illustration, usually as a historiated initial, where it occurs in the manuscript.

This book reappraises the work of early-seventeenth-century collectors of English Renaissance poetry in manuscript. The verse miscellanies, or poetry anthologies, of these collectors have long attracted the attention of literary editors looking for texts by individual, major authors, and they have more recently interested historians for their poems on affairs of state, called verse libels. By contrast, this book investigates the relationships that the compilers of miscellanies established between such presumably literary and political texts. It focuses on two of the most popular, and least printable, literary genres that they collected: libels, and anti-courtly love poetry, a literary mode that the collectors of John Donne's poems played a major role in establishing. They made Donne the most popular poet in manuscripts of the period, and they demonstrated a special affinity for his most erotic or obscene poems, such as 'To his Mistress going to bed' and 'The Anagram'.
Donne collectors also exhibited the similarities between these Ovidian love elegies and the sexually explicit or counter-Petrarchan verse of other authors, thereby organizing a literary genre opposed to the conventions of courtly love lyrics. Furthermore, collectors politicized this genre by relating examples of it to libels. In so doing, manuscript verse collectors demonstrated a type of literary and political activity distinct from that of authors, stationers, and readers. Based on a thorough investigation of manuscript verse miscellanies, the book appeals to scholars and students of early modern English literature and history, Donne studies, manuscript studies, and the history of the book.

Snapshots and Short Notes examines the photographic postcards exchanged during the first half of the twentieth century as illustrated, first-hand accounts of American life. Almost immediately after the introduction of the generic postcard at the turn of the century, innovations in small, accessible cameras added black and white photographs to the cards. The resulting combination of image and text emerged as a communication device tantamount to social media today. Postcard messages and photographs tell the stories of ordinary lives during a time of far-reaching technological, demographic, and social changes: a family's new combine harvester that could cut 40 acres a day; a young woman trying to find work in a man's world; the sight of an airplane in flight. However, postcards also chronicled and shared hardship and tragedy - the glaring reality of homesteading on the High Plains, natural disasters, preparations for war, and the struggles for racial and gender equality. With a meticulous eye for detail, painstaking research, and astute commentary, Wilson surveys more than 160 photographic postcards, reproduced in full color, that provide insights into every aspect of life in a time not far removed from our own.

Most of us are unaware of deep-seated body image issues that block us from fully living. We walk around in bodies that, from a very young age, we have learned to dislike. At some point most of us sense there something is wrong, but have no clue as to what. We then try to get fixed through various workshops, meditation practices and therapies but seldom do any of these make a difference because they don't get at the core of the problem and we are still stuck at ground level. In fact, in failing to make a difference, many of these programs actually perpetuate our problem because we come away feeling we are flawed for failing, when in fact, it was the program or therapy itself that was flawed and failed us. Instead of being a solution, they become part of the problem. This book shows how the author and many others have easily, often through serendipity, broken through the barriers that hold most of us back. Learn how nudity is to the body is like meditation is to the mind, and that social nudism offers an opportunity to deprogram the mind making healing, self-discovery and spiritual growth possible. And, besides that, it just plain feels good because being nude is to be fully alive and present A short book but one that will touch you at the deepest part of your soul.

When does a book that is merely old become a rarity and an object of desire? David McKitterick examines, for the first time, the development of the idea of rare books, and why they matter. Studying examples from across Europe, he explores how this idea took shape in the sixteenth and seventeenth centuries, and how collectors, the book trade and libraries gradually came together to identify canons that often remain the same today. In a world that many people found to be over-supplied with books, the invention of rare books was a process of selection. As books are one of the principal means of memory, this process also created particular kinds of remembering. Taking a European perspective, McKitterick looks at these interests as they developed from being matters of largely private concern and curiosity, to the larger public and national responsibilities of the first half of the nineteenth century.

The Fifth Codex It's a routine job for painter Paul Zacher, now getting a reputation for his abilities as a detective. Simply facilitate the authentication and transfer of what could be a genuine Mayan book (codex) from the 1500s, of which only four others are known. But when the book's inflammatory message proves to be at the core of a three-way struggle among the Mexican government, the rebels of Chiapas, and a private collector with deep pockets, the conflict escalates. Kidnapping follows murder as the three forces compete for possession, until Zacher commits what looks to everyone like an act of coldblooded execution. The survival of the Zacher Agency and Paul himself are gravely in doubt in this, the second of the ten books in the Murder in Mexico mystery series.

In the last years of the nineteenth century an American tobacco company, Allen and Ginter, began inserting plain cards called 'stiffeners' into packets of cigarettes to protect their products from being crushed. What seemed at the time like an inconsequential product development was swiftly exploited for commercial purposes: to advertise other products and then illustrate the cards with popular personalities. These collectables swiftly became a phenomenon and crossed to the other side of the Atlantic. These cards were decorated by many different subjects: politicians, actors, writers, poets and sporting personalities, most significantly footballers. A craze that lasted for more than half a century was born. In an era before the widespread use of photography in print media and when the game was seldom captured by motion film, cigarette cards were often the most enduring portrayal of football's stars in the early twentieth century. Small boys would collect these cards from family and friends. Teams would be formed and, in a fore- runner of today's fantasy football games, the cards would be swapped and traded to see who could assemble the best team.Today they provide a compelling insight into a bygone era. Now, in The Redmen of Liverpool FC, Rowlands has shared his passion. Featuring every single Liverpool player featured in this medium, along with biographical details and contextual notes, Rowlands tells the story of the cigarette card craze. Presented in full colour, Redmen is a richly illustrated and deeply evocative window into one of football's bygone eras and an essential reference for every Liverpool fan.

Catalogue of an exhibition of Neale M. Albert's collection of specially-commissioned miniature designer bindings, held at the Grolier Club September 13-November 4, 2006.

Catalogue of a Grolier Club exhibition held March 29 - May 26, 2000, describing eighty books, prints, and manuscripts from the author's wide-ranging collection illustrating various aspects of English history--royalty, succession, social commentary, architecture, and the Reformation. Printed at the Ascensius Press, in an edition of 500 copies.

The eighteenth century has generally been understood as the Age of Print, when the new medium revolutionized the literary world and rendered manuscript culture obsolete. After Print, however, reveals that the story isn't so simple. Manuscript remained a vital, effective, and even preferred forum for professional and amateur authors working across fields such as literature, science, politics, religion, and business through the Romantic period. The contributors to this book offer a survey of the manuscript culture of the time, discussing handwritten culinary recipes, the poetry of John Keats, Benjamin Franklin's letters about his electrical experiments, and more. Collectively, the essays demonstrate that what has often been seen as the amateur, feminine, and aristocratic world of handwritten exchange thrived despite the spread of the printed word. In so doing, they undermine the standard print-manuscript binary and advocate for a critical stance that better understands the important relationship between the media. Bringing together work from literary scholars, librarians, and digital humanists, the diverse essays in After Print offer a new model for archival research, pulling from an exciting variety of fields to demonstrate that manuscript culture did not die out but, rather, may have been revitalized by the advent of printing. Contributors: Leith Davis, Simon Fraser University * Margaret J. M. Ezell, Texas A&M University * Emily C. Friedman, Auburn University * Kathryn R. King, University of Montevallo * Michelle Levy, Simon Fraser University * Marissa Nicosia, Penn State Abington * Philip S. Palmer, Morgan Library and Museum * Colin T. Ramsey, Appalachian State University * Brian Rejak, Illinois State University * Beth Fowkes Tobin, University of Georgia * Andrew O. Winckles, Adrian College