Thinking Wetly: Causeways and Communities in East Anglian Hagiography

Water defined the landscapes of medieval East Anglia. Hitherto scholarly attention has focussed on the physical geography of the region, with landscape archaeology and excavations revealing sites of international importance and speaking to the potency and ubiquity of water as a ritual element. Surprisingly, however, very little attention has been paid to the symbolic importance of water in medieval East Anglian literature, and this article addresses this scholarly lacuna. Water features prominently in the literature from the region, particularly in the lives and legends of the numerous saints venerated at its many cult centres. This article begins by outlining some of the key ways in which water signifies in these contexts, before discussing a case study from the Liber Eliensis which, at first reading, seems to confound the received notion of water’s symbolic resonances but which, on closer consideration, reveals an additional, previously unidentified aspect of this most fluid of metaphors

Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery

Thomas Macklin’s Gallery of Poets opened at the Mitre Tavern in Fleet Street in 1788 with the aim to ‘display British Genius’ through ‘Prints Illustrative of the Most Celebrated British Poets’. Early newspaper coverage promised ‘a monument of the powers of the pencil in England, as the Vatican is at Rome’. The incongruous juxtaposition between Fleet Street and the Vatican spells out the cosmopolitan ambition of the literary gallery phenomenon through its real and imagined geographies of display. Through the format of the paper gallery of prints, Macklin’s Poets offered the inventions of British Poets as a repository of painting. This chapter examines how the cosmopolitan idiom of the paper gallery is negotiated in the first number of Macklin’s Poets. This essay examines the extent to which this ambition was achieved in the first Number of Macklin’s Poets which carried an engraving of Maria Cosway’s The Hours, originally a painting with an impressively European iconographic heritage. The painting was first exhibited at the Royal Academy in 1783, and was retroactively associated by Macklin with Thomas Gray’s ‘Ode on the Spring’. The trope of the Hours brought with it a weighty provenance derived from classical marble bas-relief, through the antiquarian pages of Pietro Santi Bartoli and Bernard de Montfaucon to Flaxman’s designs for Wedgwood plaques and vases. Cosway’s name also imported into Gray’s poem her reputation as a cosmopolitan, cultured woman who had completed the Grand Tour and who moved in elite circles including those of the Prince of Wales in London and the Duke of Orleans, Pierre d’Hancarville and Thomas Jefferson in Paris. The iconographies of the painting, the print, and the poem articulate a European cosmopolitan tradition for British Art

Pig health, recording, production and finance A producer's guide

SIGLEAvailable from British Library Document Supply Centre- DSC:88/22841(Pig) / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Diaries and correspondence of James Harris, first Earl of Malmesbury; containing an account of his missions to the courts of Madrid, Frederick the Great, Catherine the Second, and the Hague; and his special missions to Berlin, Brunswick, and the French republic.

Mode of access: Internet

Letter to Lord Weymouth, St. Petersburg, 9 November 1779.

Report from Commandant at Kamchatka of account of visit by two ships to Aleutian Islands in autumn of 1778; crews were received with great hospitality; likelihood it was Capt. Cook. (copy, 3pp)