This volume tells the singular story of an uncanny object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to lore from the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,” unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.

Strangely beautiful, utterly unique, "Specimens of Hair" presents the obsessive work of a 19th-century amateur naturalist who collected hundreds upon hundreds of specimens of hair--animal and human, Including thirteen of the first fourteen U.S. presidents--in his quest to understand the mysteries of the natural world. No matter who we are, old or young, fashion conscious or style indifferent, we are all aware of hair. We wash it; we comb it; we cut, curl, and dye it. Hair can be envied or derided, and hair can provide clues to everything from age to culture to genetic identity to health. To a nineteenth-century amateur naturalist named Peter A. Browne, hair was of paramount importance: he believed it was the single physical attribute that could unravel the mystery of human evolution. Thirty years before Charles Darwin revolutionized understanding of the descent of man, Browne vigorously collected for study what he called the "pile" (from the Latin word for hair, pilus) of as wide a variety of humans (and animals) as possible in his quest to account for the differences and similarities between groups of humans. The result of his diligent, obsessive work is a fastidious, artfully assembled twelve-volume archive of mammalian diversity. Browne's growing quest for knowledge became an all-consuming specimen-collecting passion. By the time of his death in 1860, Browne had assembled samples from innumerable wild and domestic animals, as well as the largest known study collection of human hair. He obtained hair from people from all parts of the globe and all walks of life: artists, scientists, abolitionist ministers, doctors, writers, politicians, financiers, military leaders, and even prisoners, sideshow performers, and lunatics. His crowning achievement was a gathering of hair from thirteen of the first fourteen presidents of the United States. The pages of his albums, some spare, some ornately decorated, many printed ducit amor patriae-led by love of country-are distinctly idiosyncratic, captivating, and powerfully evocative of a vanished world. Browne's albums have been sequestered in the archives of the Academy of Natural Sciences in Philadelphia to which Brown bequeathed them, narrowly escaping destruction in the 1970s. They are a unique manifestation of the avid collecting instinct in nineteenth-century scientific endeavors to explain the mysteries of the natural world.

The beauty of the robin s egg is not lost on the child who discovers the nest, nor on the collector of nature s marvels. Such instances of wonder find fitting expression in the photographs of Rosamond Purcell, whose work captures the intricacy of nests and the aesthetic perfection of bird eggs. Mining the ornithological treasures of the Western Foundation of Vertebrate Zoology, Purcell produces pictures as lovely and various as the artifacts she photographs. The dusky blue egg of an emu becomes a planet. A woodpecker s nest bears an uncanny resemblance to a wooden shoe. A resourceful rock dove weaves together scrap metal and spent fireworks. A dreamscape of dancing monkeys emerges from the calligraphic markings of a murre egg.

Alongside Purcell s photographs, Linnea Hall and Rene Corado offer an engaging history of egg collecting, the provenance of the specimens in the photographs, and the biology, conservation, and ecology of the birds that produced them. They highlight the scientific value that eggs and nest hold for understanding and conserving birds in the wild, as well as the aesthetic charge they carry for us.

How has evolution shaped the egg or directed the design of the nest? How do the photographs convey such infinitesimal and yet momentous happenstance? The objects in "Egg & Nest" are specimens of natural history, and in Purcell s renderings, they are also the most natural art.

In this collaborative work, photographer Rosamond Purcell and Shakespeare scholar Michael Witmore explore the transcendent emotion in Shakespeare's work through photographs, pairing the allusive power of images with the subversive effects of Shakespeare's language. The book takes advantage of oblique connections to reveal things that cannot be represented directly on stage. Purcell has pioneered the technique of capturing reflections in antique mercury glass apothecary jars, resulting in haunting images that seem to move with the liquid quickness of ideas. These images are an attempt to capture Shakespeare's expansive imagination in action what Coleridge called his "myriad-mindedness": they take a visceral journey into the world of his plays. Witmore has paired each photograph with a short passage from Shakespeare's plays with an uncanny sense of the playwright's intent."