Scanned (with the author's knowledge) from: 'Wordless Books: The Original Graphic Novels' 2008 by David A Beronä [blog].
read more at BibliOdyssey
"The beautiful designs in this book are mostly geometric depictions of animals, flowers, objects and deities and are embroidered in cloths, painted on walls and ceramics, drawn on floors as talismans and even used as henna and tattoo designs. They reflect the vitality of the Indian people, their culture and their beliefs."
"THE Mole had been working very hard all the morning, spring-cleaning his little home. First with brooms, then with dusters; then on ladders and steps and chairs, with a brush and a pail of whitewash; till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms.
Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said `Bother!'and `O blow!' and also `Hang spring-cleaning!' and bolted out of the house without even waiting to put on his coat.
Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gravelled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, `Up we go! Up we go!' till at last, pop! his snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow..."
"Not sure about his new illustrator of his book, he listened patiently while I told him what I hoped to do.From my own perspective, the beautifully written adventures of Mr Badger, Mole, Ratty and the inimitable and credulous Toad and their friends, although composed principally as a tale for youth, is equally suitable as a pleasant diversion or panacea for the blues in adulthood. The pharmaceutical industry might well face some competition in the trade of antidepressants if a few more copies of this book were prescribed for vulnerable people during stressful episodes in their lives. It's not just escapism, seriously. It would definitely be included by me in a group of five books for a desert island.
Then he said 'I love these little people, be kind to them'.
Just that; but sitting forward in his chair, resting upon the arms, his fine handsome head turned aside, looking like some ancient Viking, warming, he told me of the river nearby, of the meadows where mole broke ground that spring morning, of the banks where Rat had his house, of the pool where Otter hid, and of Wild Wood way up on the hill above the river.
...He would like, he said, to go with me to show me the river bank that he knew so well, '...but now I cannot walk so far and you must find your way alone'."
The Codex Fejérváry-Mayer depicts specific aspects of the tonalpohualli the 260-day Mesoamerican augural cycle. The painted manuscript divides the world into five parts. T-shaped trees delineate compass points: east at the top, west on the bottom, north on the left, and south on the right. The four directions are distributed around a sacred center, shown here as Xiuhtecuhlti, the god of fire.
"A comic map of England formed by an old woman seated in profile to the left on the back of a dolphin-like monster, whose open mouth (right) represents the 'Thames', the two points of its tail being 'Lands End' and 'Lizard Point'. She holds a trident in her left hand. Her right hand (on which is a dove) and right foot form the north of Wales and the north of the the Bristol Channel. The peak of her cap is 'Berwick'. Many other names are inscribed round the coast. The sea forms a background."Wright & Evans, in their 1851 book, 'Historical and Descriptive Account of the Caricatures of James Gillray', describe 'Brittania' thus:
"A comic map, inscribed 'A new Map of England & France', actually showing England and Wales, the SW. corner of Scotland, the north of France, just including 'Paris', and the Belgian coast as far as Ostend. England is represented by the body of George III (John Bull), his head in profile to the right, wearing a fool's cap composed of 'Northumberland'. His left leg is drawn up, Norfolk forms the knee, the mouth of the 'River Thames' the ankle, Kent the foot. His outstretched right leg terminates as Cornwall.
From the coast, at the junction of 'Hampshire' and 'Sussex', issues a blast of excrement inscribed 'British Declaration', which smites a swarm of 'Bum-Boats' extending from Ushant to the mouth of the Seine. The map is divided (inaccurately, and with omissions, but with a rough correctness) into counties, Wales representing the flying coat-tails of the King, who strides across the ocean with great vigour."
"Great Britain is an adaptation of [the Gillray print above] inscribed 'Johnny Bull on a Whale'; a thistle growing out of his head represents 'Scotland'; an Irish harp is 'Ireland'. The contour of Europe is roughly correct; on most of the countries are little figures or scenes. On 'France' a landscape (torn). On 'Spain' a whole length portrait of (?) Charles IV, hanging askew. On 'Switzerland' a funeral urn flanked by yews. On 'Portugal', as on 'Italy', a landscape. On 'Holland' a Dutch toper. On (west) 'Germany' crowned heads looking out through prison bars. On 'Prussia' is an infantry soldier. On 'Sweden' a reindeer sledge; 'Norway' and 'Denmark' are blank. On 'Russia' are polar bears, &c. In 'Turkey' a Turk advances towards Britannia, who is seated, with cap of Liberty, Lion, and olive-branch. Below [not seen]:
'Oft we see in the shops, a print set up for sale,
England colour'd, an old fellow striding a whale:
Yes! Old England's a picture, the sea forms its frame,
And Hibernia and Scotia they class with the same. "
"A bibliographically unknown caricature map of Europe showing the political situation of the Crimean War. The Russian Bear, wearing the Imperial crown labeled “Despotism” and branding a cat-o-nine-tails whip strides eastward but looks westward over its shoulder toward an enslaved, chained Polish maiden on her knees. The region labeled “Engentliches Russland” (The Real Russia) is marked Verrath (Teason), Bigottery (Bigotry), etc. The toes of the Russian bear’s right foot take the form of the Crimean peninsula where the French and English fleets gather to “clip the bear’s claws”. The Treaty of Paris, March 1856 concluded the Crimean War and forbade Russia to maintain a fleet in the Black Sea." [source]
Re: Fred W Rose (but not specifically about the above map) -
"Caricaturist Fred W Rose created [..] this cartoon map in 1877, when British hostility to Russian territorial ambitions in the Balkans, at the expense of the tottering Ottoman Empire, were at its height. [..] British determination to resist what were held to be Russia's overweening territorial ambitions was not confined solely to India.
The Balkan crisis of 1877, in which the British government sided with the Ottoman Turks against the Russian tsar, led to the publication of a curious Serio-Comic War Map by the noted Victorian graphic artist and caricarturist Fred W Rose. It illustrated the threat posed to British interests by the Russian octopus in its quest for world domination. Rose continued to produce eyecatching cartographical curiosities for the rest of the century, including what was probably his masterpiece, 'Angling in Troubled Waters: A Serio-Comic Map of Europe' in 1899."
"Great Britain - John Bull has been attacked by two wild cats. He is however able to rely on the stores of ammunition behind him, as well as his own pluck and great resources. The letter at his feet from his friend Uncle Sam, would be more encouraging were it not for the post-script. The Nationalist section in Ireland has taken this opportunity to vent his abuse upon him, but is restrained by the loyalty of the people.
France too, is scolding and threatening to scratch with one hand, while with the other she is beckoning on Germany to help her. Although the Dreyfus affair is thrust into the back-ground she is much occupied with her new doll's house. She has somehow managed to break all the toys on her girdle and her heart is sore, for she attributes these disasters to John Bull.
Holland and Belgium are also calling him unpleasant names.
Spain, weary with her recent struggles, remembers that John was in no way inclined to help her, and looks up hoping to see him attacked by some of her neighbours.
Portugal is pleased to think he holds the Key of the situation.
Norway and Sweden though still struggling to get free from their mutual leash, turn their attention to John's difficulties, while Denmark is kindly sending him a present of provisions.
Austria and Hungary will be content with dreadful threats
Switzerland's satisfaction that her Red Cross has done good service, is marred by the news of John's victories, which she is reading.
Italy alone holds out the hand of encouragement to his old friend.
In Corsica the shade of her great departed son is wondering why people don't act, as he would have done, instead of growling and cursing.
Turkey, resting comfortably on his late foe Greece, is smiling at the thought that these troubles do not harm him and perhaps he is not sorry that John will not come to much harm.
Russia, in spite of the Tzar's noble effort to impress her with his own peaceful image, is but an octopus still. Far and wide her tentacles are reaching. Poland and Finland aleady know the painful process of absorption. China feels the power of her suckers, and two of her tentacles aer invidiously creeping towards Persia and Afghanistan, while another is feeling for any point of vantage where Turkey may be once more attacked."
"Fascinating political caricature map by Frederick Rose of the countries of Europe, known as the Octopus Map from the brooding presence of the Russian Empire depicted as a massive octopus, whose tentacles stretch out towards Europe. China is shown in the grasp of Russia, as is Persia and Poland. France and Spain are attractive women, while Germany, Italy and England are Military commanders. his map, by Rose, followed the style created by a Frenchman, Joseph Goggin, showing Russia as an octopus."
"Above the couple a banderole announces 'how well we suit each other', in other words, 'each to his own'. The owls are intended to show that people should consort with their own sort: poor with poor, rich with rich, owl with owl."
"This is one of the great vernacular chronicles of the fifteenth century, and a major (and often unique) source for the life of Sigismund of Luxembourg (1368-1437) [..]
Eberhard Windeck (c. 1380- c.1440) was a member of a successful merchant family of Mainz. He first met Sigismund in Prague in 1395. He travelled extensively throughout Europe, both for business and on diplomatic missions, living at various times in Paris, Vienna, Buda, Nuremberg, Venice, and other cities.
His contacts and sources of information are formidable. He entered the service of Sigismund in 1414, and accompanied him to the Council of Constance and elsewhere. The Buch von Kaiser Sigmund is a celebration of the emperor's close involvement in very many major events, including the resolution of the papal schism, the Hussite Wars (there is a fine illustrated account here of the burning of Jan Hus in 1415), and the story of Joan of Arc, including what are reputed to be the earliest known pictures of Joan of Arc, who was martyred in 1431."
"[F]olio 88r, the catching of a vast whale at Dunkirk which yielded 120 tonnes of blubber, with the whale (depicted as an enormous green-backed fish) is hacked at by a man, note as Windeck is present in the picture this may well record that he was an eye-witness to this event."
"After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken on the orders of Louis XIV. These were sent as presents to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire ... The works of Levaillant owe their sumptuous character to ... this impetus. His 'Histoire Naturelle des Perroquets' is, unwittingly, a part of the glories of Napoleonic France"
"A charming view of a falconer or falcon seller playing a wind instrument and carrying 7 birds on a hoop suspended from his neck. The figure's turban suggests an Indian or Mughal origin for the wearer.
In France, falconry achieved its greatest development in complexity, scale and magnificence in the seventeenth century under Louis XIII. The king owned 300 birds, subdivided into six specialized équipages, for hunting the heron, the kite and the crow, the flight at the river, the flight at the partridge, and so on. Numerous paintings, tapestries and works of literature survive from this period. In the Indian sub-continent, falconry appears to have been known from at least 600 years BC. Falconry became especially popular with the nobility and the Mughals were keen falconers."
"This Bible, the first to include a map, has over 160 hand-colored illustrations by Romeyn de Hooghe, perhaps the most significant Dutch book illustrator of the late seventeenth and early eighteenth centuries."*****On the subject of Dutch engraving, a massive digitisation project of book illustrations and prints is currently underway in Holland which I am reliably informed ought to bear some web-accessible fruit by the end of this year. The collaborative DutchPrintsOnline site aims to have in the order of 2 million(!) web pages online by late 2010.****
"Original papercut design, intricately cut and depicting several popular motifs including ballet dancers, windmill men with heart-shaped windows, pierrots, Ole Lukoie or sandmen, flower garlands, palm trees, storks, and gnomes [..and dated] 1870."
"Alexander Brodsky and Ilya Utkin are the best known of a loosely organized group of Soviet artists known as "Paper Architects", who designed much but built little in the early days of Glasnost, in the late 1980s. [..] Underlying the wit and visual inventiveness is an unmistakable moral: that the dehumanizing architecture of the sort seen in Russian cities in the 1980s and 1990s, and elsewhere around the globe, takes a sinister toll."This 2006 MetropolisMag article on Brodsky is worth reading, but in my view there aren't any other websites deserving of particular mention. If you are interested, there is quite a bit of visual and written material around, scattered across many sites, that will be turned up from diligent searching. [via].
"It was at the commencement of the 15th century, that the Renaissance style began to make its appearance in Italy, and the period till about 1500 may be called the period of Early Renaissance, in contradistinction of High Renaissance which lasted till the middle of the 16th century.
Renaissance is a new adaptation, not a servile imitation, but a free treatment of antique forms; the plainest evidence of this is given by the ornament, of which this style makes a richer and ampler use than any other. This applies more particularly to the motives we meet with; and here we observe above all the vegetable ornament, which in Early Renaissance generally covers the ground only moderately.
We find almost everywhere delicate, beautifully curved branches in a symmetrical or at least regular arrangement, in which the antique acanthus-leaf acts as the principal part, although, not without the most various transformations. Also vine, laurel, ivy etc. are frequently employed, partly copying nature directly, partly idealised. But this foliage with its branches and fruit is still enlivened by a rich variation of animals, fantastical beings, human figures as well as symbolical subjects, arms, masks, emblems, vases, candelabras etc.
Most cultivated is the combination of human figures and animals with vegetable elements. Finally a not less important part of the decoration are coats or arms and escutcheons, the latter usually a so-called horse-front-shields [the two parallel strips upper middle in the image above] in the period of the Early Renaissance, later on as cartouches."
"It is in about the year 1540 that the period of the so-called Late Renaissance begins. [..] We find no more the same charm and grace as in the creations of the Early and High Renaissance, but some cool, rather caluculating feature pervades the whole treatment.
The beautiful harmonious union of the figural with vegetable element, as well as the nicely balanced proportion of the colours to each other are somewhat decaying. The larger admission of white surfaces makes a dry and barren impression upon the spectator.
The vegetable ornament is less elaborately finished, its place being often taken by elements, from which later on the so-called cartouches were developed, and most of the figures do not show to advantage by their artificial composition. Neither in the disposition of this ornament over the field to be decorated, is the perfection of the previous epoch of art within this domain attained."
"Albertus Seba's "Cabinet of Curiosities" is one of the 18th century's greatest natural history achievements and remains one of the most prized natural history books of all time.That quote is taken from the Taschen site. They published an oversized (hand-coloured) facsimile version of Seba's 'Cabinet of Natural Curiosities' a few years ago and by all accounts it is a superb production. [Amazon page]
Though it was common for men of his profession to collect natural specimens for research purposes, Amsterdam-based pharmacist Albertus Seba (1665-1736) had a passion that led him far beyond the call of duty. His amazing, unprecedented collection of animals, plants and insects from all around the world gained international fame during his lifetime. In 1731, after decades of collecting, Seba commissioned illustrations of each and every specimen and arranged the publication of a four-volume catalog detailing his entire collection-from strange and exotic plants to snakes, frogs, crocodiles, shellfish, corals, insects, butterflies and more, as well as fantastic beasts, such as a hydra and a dragon.
Seba's scenic illustrations, often mixing plants and animals in a single plate, were unusual even for the time. Many of the stranger and more peculiar creatures from Seba's collection, some of which are now extinct, were as curious to those in Seba's day as they are to us now."