Category Archives: Digitisation

Earliest attempts at colour printing in the West on display for the first time

Imaging techniques developed by CHICC have underpinned research in to the earliest attempts at colour printing in the West. Selected prints are now on display at the British Museum as part of a new exhibition curated by British Academy Postdoctoral Fellow Dr Elizabeth Savage,  until 27 January 2016.

On the basis of microscopic analysis at the British Museum’s World Conservation and Exhibition Centre and photomacrographs taken by Gwen Riley Jones (CHICC), it has now been confirmed that the British Museum Charles V is the sixth known woodcut – and 20th impression – issued with gold printing ink before the 18th century.

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Attr. Hans Weiditz, Portrait of Charles V (1519), woodcut on vellum from two block (gold, black) with hand-colouring, 35.6 x 20.3 cm. Printed by Jost de Negker, Augsburg. The British Museum, London, 1862.0208.55. Image courtest of the Centre for Heritage Imaging and Collection Care, University of Manchester and © The Trustees of the British Museum.

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Detail of Portrait of Charles V (1519), image courtesy of the Centre for Heritage Imaging and Collection Care, University of Manchester and  © The Trustees of the British Museum.

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Detail of Portrait of Charles V (1519), image courtesy of the Centre for Heritage Imaging and Collection Care, University of Manchester and © The Trustees of the British Museum. 

 

The exhibition will examine the earliest attempts to incorporate colour into printmaking in the 1400s and 1500s in the German lands—where colour printmaking began in the West. It brings together 31 prints and one drawing, many of which are unique and have never been displayed together before, to present a representative survey of the first century of colour printing in Germany, where the technology developed.

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Dr Elizabeth Savage examining prints at the British Museum during image capture.

Curated by Dr Elizabeth Savage as a result of her British Academy funded research project, it is the first exhibition dedicated to the early history of colour prints in Renaissance and Reformation Germany. Before 1700, colour prints were thought to be extremely rare, if not technically impossible. The few outliers, like Italian chiaroscuro (tonal) woodcuts, are celebrated as visionary and exceptional. But new research has revealed hundreds of previously unknown colour prints. Circulating in thousands (if not tens of thousands) of impressions, colour prints decorated furniture, imitated expensive woods on ceilings, illustrated ideas in books, clarified religious iconography, and, of course, were admired as art.

By tracing technical developments and artistic and market trends across the sixteenth century, ‘German Renaissance Colour Woodcuts’ demonstrates that colour printing was part of daily life in Renaissance and Reformation Germany.

Dr Savage, British Academy Postdoctoral Fellow, said: “The history of prints is usually in black and white, but early prints were vibrant. Late medieval and early modern German printers pushed the emergent technology of the printing press to its limits in their quest to print colour. They, not the artists, controlled this artistic effect. The British Museum holds one of the world’s largest collections of early colour prints, so this is a unique opportunity to see how printers manipulated different palettes and achieved a range of stunning visual effects 500 years before Photoshop.”

The exhibition is arranged in five sections. Highlights include three of the six woodcuts printed with gold in early modern Europe.

Visiting Admission: Free and open to all.

Opening hours: 10.00–17.30 Saturday to Thursday and 10.00–20.30 Fridays.

Location: Room 90, British Museum, Great Russell Street, London, WC1B 3DG.

Tracts for the Times – Vanity Fair 1877

Newman Archive

We have digitised a number of portraits of Cardinal Newman but this one is a little different from Batch 9.

A chromolithograph, published in Vanity Fair 20 January 1877. Men of the Day. No. 145. “Tracts for the times.” Caricature by Sir Leslie Ward.

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I found this reference to Ward’s caricature in the publication Forty years of “Spy”.

Page 133 – Forty Years of ‘Spy’ – Ward, Leslie – First Published 1915

“Cardinal Newman quite unconsciously placed me in rather an awkward dilemma. At the time when I was anxious to stalk him I heard he was in Birmingham; so I went to Euston Station, and had actually bought my railway ticket when suddenly I caught sight of his Eminence upon the platform. Here was an opportunity not to be missed! I saw him go into the buffet and followed him. He sat down at a small table…

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University Photographs – a Fascinating Snapshot!

CHICC’s latest completed digitisation project has made public a significant number of images from the University Photograph Collection. The images are now available in a new discrete Collection, the ‘University of Manchester Archives Collection’

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The Photographic Collection itself, which is part of the University Archives, consists of several thousand fascinating images of University people, buildings and events, dating from the mid-nineteenth century to the present day.  The images provide a rich visual resource for the history of the University and its surroundings.

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This project which was proposed  by Dr James Hopkins, the University Historian and Heritage Manager, will support the University’s History and Heritage Programme which is working to promote the University’s history both to its members and to the wider public audience.  The digitisation of this selection of photographs will enable greater access to, and use of, the University’s historic images for research and engagement purposes.

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Early Medical Printed Illustrations

This month sees the commencement of the ninth annual Manchester Science festival and by happy coincidence we are unveiling in our digital collections images from a recently completed JRRI Seedcorn project ‘Illustrations in the Early John Rylands Medical Collection ’.

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The John Rylands Library holds over 3,000 medical books printed before 1701, however, the catalogue gives minimal information on visual material within the holdings. This digitisation project was instigated by Dr Cordelia Warr to improve the information available on illustrative material within the Rylands early printed medical collections, in order to facilitate teaching and further research.

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The images selected for the project represent a range of disciplines; midwifery, anatomy, surgery and the medicinal use of plants. Research assistant on the project, Dr Hannah Priest, has supplied detailed metadata which accompanies the digital images to further enhance the information available.  The work of Cordelia and Hannah on these fascinating early printed texts will undoubtedly inspire greater interest in the early printed medical collections held by Library. More importantly, it will further a better understanding of the place of illustrative material in medical publications generally, many of which, up to the nineteenth century, were not illustrated or were only minimally illustrated.

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All images Copyright of the University of Manchester.

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Early Medical Printed Illustrations

This month sees the commencement of the ninth annual Manchester Science festival and by happy coincidence we are unveiling in our digital collections images from a recently completed JRRI Seedcorn project ‘Illustrations in the Early John Rylands Medical Collection ’.

This slideshow requires JavaScript.

The John Rylands Library holds over 3,000 medical books printed before 1701, however, the catalogue gives minimal information on visual material within the holdings. This digitisation project was instigated by Dr Cordelia Warr to improve the information available on illustrative material within the Rylands early printed medical collections, in order to facilitate teaching and further research.

This slideshow requires JavaScript.

The images selected for the project represent a range of disciplines; midwifery, anatomy, surgery and the medicinal use of plants. Research assistant on the project, Dr Hannah Priest, has supplied detailed metadata which accompanies the digital images to further enhance the information available.  The work of Cordelia and Hannah on these fascinating early printed texts will undoubtedly inspire greater interest in the early printed medical collections held by Library. More importantly, it will further a better understanding of the place of illustrative material in medical publications generally, many of which, up to the nineteenth century, were not illustrated or were only minimally illustrated.

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All images Copyright of the University of Manchester.

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Mary Hamilton Papers – NEW COLLECTION!

We are thrilled to be able to announce the creation of an entirely new collection in the University of Manchester Image Collections for digitised material from the Mary Hamilton Papers. Over the past few years, significant portions of the archive have been digitised and made available; now for the first time they are able to be viewed together in a dedicated collection of Mary’s correspondence and diaries.

Mary Hamilton (1756-1816), was a courtier and diarist, who stood at the nexus of several interlocking royal, aristocratic, literary and artistic circles in late eighteenth-century London. The Mary Hamilton Papers themselves include almost 2,500 letters, 16 meticulously detailed diaries, and six manuscript volumes. Together these form a rich resource providing a window into the intellectual and social world of Hamilton’s day, particularly the Court of George III (Hamilton was governess to his daughters), and the Bluestocking circle. Among the major figures represented in the archive are members of the royal family and other courtiers, members of Hamilton’s own family (including her uncle, the diplomat Sir William Hamilton), and prominent members of the Bluestocking circle, such as Elizabeth Montagu, Frances Burney, Frances Boscawen, Elizabeth Vesey and Mary Delany.

JRL1307497, Censored Letter to Mary Hamilton

Censored Letter to Mary Hamilton, Image number: JRL1307497

The most recent digitisation project has made available correspondence to Mary from Princess Elizabeth, daughter of George III, who occasionally addresses Hamilton as ‘My dear Hammy’; from Martha Carolina Goldsworthy, sub-governess to the Royal family and from William, 7th Lord Napier, Mary’s guardian.

 My dear Hammy.. Image number: JRL15070040

My dear Hammy…. Image number: JRL15070040

The papers are already hugely popular with scholars and the availability of these documents online will undoubtedly facilitate new research opportunities and interdisciplinary collaboration for the study of the language and socio-cultural history of Georgian England.

All images are Copyright of the University of Manchester.

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Where First I Heard of Peterloo

I first heard of Peterloo when I had been working at the Library for a few years and I was shown a little book, filled with names. It was the Peterloo Relief Fund Account Book (or English MS 172) a little notebook which records recipients of the Peterloo Relief Fund giving their names, addresses, details of their injuries and the amount of money paid to them.

Peterloo Relief Fund Account Book A list of recipients of the Peterloo relief fund giving their names, addresses, details of their injuries and the amount of money paid to them.

Peterloo Relief Fund Account Book
A list of recipients of the Peterloo relief fund giving their names, addresses, details of their injuries and the amount of money paid to them.

The next time I heard about Peterloo was during Manchester International Festival 2013 when Maxine Peake recited all 37 verses of Shelley’s poem, ‘The Masque of Anarchy’, directed by Sarah Frankcom, just yards from the site of the Peterloo Massacre itself.

But it was until Monday evening 5th October 2015, at a rally for The People’s Post organised by the CWU (Communication Worker’s Union) that I truly understood the significance of Peterloo and what went on at Peter’s Fields. When Lindsay German addressed the crowd of over 8000 people that had amassed in Cathedral Gardens, she spoke of the democratic reform that the Peterloo rally had been demonstrating for, and subsequently brought about.

Cathedral Gardens, Manchester, Monday 5th October 2015

Cathedral Gardens, Manchester, Monday 5th October 2015

I had not understood that those killed and injured at Peterloo had been taking part in a peaceful rally, much like the one I attended on Monday, to claim their democratic rights – and to defend the rights of the poor. In the back of the Peterloo Relief Account Book is a newspaper cutting, which is an account from a man named James Haslam, I have transcribed the cutting below so you can read about where first he heard of Peterloo:

‘When I was a boy I was very fond indeed of creeping into the handloom cellar at night – especially o’ winter nights – to hear the men of the moribund craft talk and sing and, by the way, swear about hard times. What a quaint, independent set of industrials they were. But they talked and sang sometimes of flowers, or love, or war, but mostly of hard social and political days. How they did anathematise the politicians of the hour, and, I am afraid, push revolutionary ideas into my young hear. I was to carry on – so Joss Wrigley said – their spirit of political revolt when they were dead and their wooden looms were made into firewood by the factory workers.

They were the Radicals of Lupton Yard, and when I read “The Revolution in Tanner’s Lane” I thought if Rutherford had known them he might have handed them to posterity.

It was there where I first heard of Peterloo.

“Peterloo, Peterloo,” was often the subject of fierce conversation and denunciation. There were four of them in the cellar, in addition to an old woman who, sitting in the middle of the semi-subterranean workshop, wound coarse weft bobbins for them on a wooden wheel and spindle.

Joss Wrigley was the leader of the poverty-stricken group. My father was the owner of the looms, all bought for a few shillings, and rented to the other three weavers for a few pence a week. Joss was a great talker. Ned Greenhalgh – gentle Ned – was a listener who nodded approval of Joss’s political outbursts. Nathan Clegg, who occasionally varied his weaving by a short term in the Debtors’ Gaol at Lancaster, helped Joss by swearing at capitalists and shopkeepers. Mary Miller, the bobbin-winder, sometimes shook with fear at the thought of what might be their plight if the police were to look in. Joss Wrigley had decorated – he called it decorated – one of his loomposts with verses from Ebenezer Elliott and democratic songs of Burns, cut from newspapers. My father sometimes played the fiddle to soothe their nerves – played old English airs and Jacobite songs.

There was a stove in the cellar, which was lighted when they could afford to buy coal. I used to hear most about Peterloo when the looms were silent and the stove was burning, and the decrepit weavers were “winding on” a new warp by candle-light. One of them would guide the threads through the healds, two would sit on each side straightening the yarn and picking out foreign particles; Joss Wrigley usually sat on a stool unfolding the warp, and, having the least responsible task, he would talk the most.

It was then that “Peterloo” rang mostly in my ears. Often I wondered where Peterloo was till I learned it was at Manchester, a few miles away.

A Plan of St. Peters Field in the town of Manchester. With the Avenues leading thereto.

A Plan of St. Peters Field in the town of Manchester. With the Avenues leading thereto.

Frequently I was puzzled to know why it was that they spoke so bitterly of it. Subsequently, I was informed that Joss Wrigley knew all about it, because he was there in support of the People’s Charter, as Joss described it. Joss was a slim, nervous man with white hair and long beard; for a man of 77 years he was still sprightly physically and alert mentally.

It was from these older-time weaver’s lips I first heard the names of Sam Bamford and Henry Hunt. There was only one picture on the walls of our “front” room, otherwise known as the parlour. To us a house was divided into a “front” room and a “back” room, or kitchen. At that time our “front” room was an odd-looking chamber. Owing to the height of one of the looms in the cellar it had been necessary to take up one or two flags – it ws a flagged floor, usually sanded – in the parlour to make room for the top portion of the Jacquard machine. All that the room held was this portion of the loom, protruding about a yard above the surface, two spindle-back chairs, a small deal table, a winding-frame worked by my mother, and the solitary picture alluded to, which was a newspaper print of Henry Hunt. The name was underneath – “Henry Hunt, Esq.” My mother knew no more of the August massacre of 1819 than she had learned from the heated harangues of Joss Wrigley, and it was she who told me that Henry Hunt was a man who had something to do with Peterloo.

I remember saying to my father one morning when he was playing his well-resined fiddle (his warp being “down”), “What was this Peterloo about?” “Ax Joss,” he said. “It were afore my time. Joss were theer. Fro’ what he says, it were a damnable thing – summat as workin’ folk should never forget!”

I was now particularly curious to know. And one day when Joss came from the cellar into the kitchen to beg some tea to drink with his meal of bread and cheese I put the question – boy-like- bluntly to him. I have never forgotton some of his Doric phrases. He drew me between his knees, and said, partly with pride and partly with indignation:

“Peterloo, lad! I know. I were theer as a young mon. We were howdin’ a meetin’ i’ Manchester – on Peter’s Field, – a meetin’ for eawr reets – for reets o’ mon, for liberty to vote, an’ speak, an’ write, an’ be eawrsels – honest, hard-workin’ folk. We wanted to live eawr own lives, an’ th’ upper classes wouldn’t let us. That’s abeawt it, lad. We were howdin’ a meetin’, a peaceful meetin’, an’ they sent t’dragoons among us to mow us deawn. T’ dirty devils – they sent t’ dragoons slashin’ at us wi’ their swords. There were some on us sheawtin’ ‘Stop! Stop! What are yo’ doin’ that for? We on’y want eawr reets.’ An’ they went on cuttin’ through us, an’ made us fly helter-skelter – aw because we were only howdin’ up t’ banner o’ liberty an’ t’ reets o’ mon. Bournes (Burns) says as ‘Liberty’s a glorious feast.’ But th’ upper classes wouldn’t let us poor folk get a tast on it. When we cried… freedom o’ action they gav’ us t’ point of a sword. Never forget, lad! Let it sink i’ thi blood. Ston up an’ feight for t’ reets o’ mon – t’ reets o’ poor folk!”

Peterloo poster, a public notice declaring illegal the public meeting to be held on the 9th of August 1819 near St Peter's Church, Manchester, and cautioning 'all persons' against attending. The meeting subsequently took place on the 16th August and became known as the Peterloo Massacre, after cavalry charged into the crowd causing death and injury.

Peterloo poster, a public notice declaring illegal the public meeting to be held on the 9th of August 1819 near St Peter’s Church, Manchester, and cautioning ‘all persons’ against attending. The meeting subsequently took place on the 16th August and became known as the Peterloo Massacre, after cavalry charged into the crowd causing death and injury.

“Banner o’ libery,” “t’reets o’ mon,” “t’ dragoons slashin among us wi’ their swords,” were dinned into my ears till I could not forget. I could not understand then why Joss was trembling with rage. I could not then understand why he, having lived for over fifty years after the event, should still permit it to disturb his mind. I suppose it had got in his blood, and he could not live it out. I presume also that continuous years of poverty, together with years of political injustice and vagaries, and dear food, through which he had lived, had helped to nurse his hatred, which he resolutely passed on to others.

An illustration from ' A Slap at Slop', a mock newspaper created by George Cruikshank and William Hone. Includes cartoons relating to the Peterloo Massacre which took place in Manchester in 1819.

An illustration from ‘ A Slap at Slop’, a mock newspaper created by George Cruikshank and William Hone. Includes cartoons relating to the Peterloo Massacre which took place in Manchester in 1819.

His political career began at Peterloo – a dramatic beginning, to be sure. It ended in a damp, dark handloom cellar, at the age of 81.

I remember asking my father years after – when thinking of the sayings and the songs of Joss – how much would be the earnings of Joss as a rule. I was told not more than 10s. to 12s. per week – sometimes a few shillings more, sometimes “nowt at aw.”

Yet to the very end of his hard days Joss rarely omitted, as far as I can recollect, to talk and swear about the struggle that began at Peterloo, and which he traced through the mob skirmishes in connection with the agitation for the first Reform Act, the aims of the Free Trade League, the Chartists, and the Plug Drawers. He talked and talked of these affairs of men, and the opposition to them, as he swund the shuttle across his loom, or as he sat in the impoverished kitchen or in the tavern at the corner of the mean street. He was only nineteen years of age when he escaped from the massacre of Peterloo. And who can say how much the working classes owe to men like Joss Wrigley – a poor handloom weaver who from his obscurity passed on their spirit and opinions to coming generations?’

Peterloo Relief Fund Account Book A list of recipients of the Peterloo relief fund giving their names, addresses, details of their injuries and the amount of money paid to them.

Peterloo Relief Fund Account Book
A list of recipients of the Peterloo relief fund giving their names, addresses, details of their injuries and the amount of money paid to them. The books contains a listing for a John Wrigley, but no Joss Wrigley.

Following the Peterloo Massacre a Relief Fund was established, supported by voluntary subscriptions, to provide financial support to those wounded and the families of those who had died. The John Rylands Library holds the Peterloo Relief Fund Account Book (see image) which has now been digitised and is available to view online.

Historians believe that the Peterloo Massacre was massively influential in changing public opinion, and played a pivotal role in winning democratic rights for ordinary people or as Joss Wrigley so eloquently put ‘for reets o’ mon, for liberty to vote, an’ speak, an’ write, an’ be eawrsels – honest, hard-workin’ folk’ (for the rights of man, for liberty to vote, and speak, and write, and be ourselves – honest, hard-working folk).

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Digitisation of Japanese Maps at the John Rylands Library

Digitised material is progressively being added to the Library’s imaging online collection – LUNA – It has grown to include another small but very important part of our Special Collections.

A number of Japanese Maps have recently been digitised with the support of the Library’s Digitisation Steering Group. The Japanese Collection, assembled by the 25th Earl of Crawford in the 1860s and 1870s and purchased by the John Rylands Library in 1901, is not large by international standards, but it contains a number of manuscripts and printed books of great interest and rarity. Amongst them are a number of 18th and 19th century maps together with topographical or geographical books and manuscripts.

Initiated by Erica Baffelli – Senior Lecturer in Japanese Studies, University of Manchester – The aim behind this project was to select and digitise a number of maps and associated books and manuscripts of the Library’s Japanese Collection in order to preserve and make them available for teaching, research and study purposes. At this stage, 18 maps, predominantly published in Japan during the Tokugawa or Edo period, were selected; most of them represent the whole or parts of Japan. Because of their format and fragility comparing manuscripts side-by-side is very difficult; digitisation can be an ideal approach in making possible the close comparison and contextualisation of a range of maps with related material.

The majority of the maps are folded in original covers, and documents that have been kept folded for more than a century often need more careful handling in order to unfold them; placing the maps onto the photography stand for a few minutes allows the material to be relaxed in order to be flattened; weights placed on top of the surface facilitated the desired result.

In total, 49 images were produced including front and back covers and in some cases the back of the map (verso). Because of their extensive length, 2 maps of the world in scroll format (Japanese 118 and Japanese 118a) were photographed in parts and a single, amalgamated and immaculately stitched image for both items has been created by our skilled photographer Gwen Riley Jones.

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Japanese 118 – Shinsei yochi zenzu – Map of the world divided into two hemispheres.

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Japanese 118a – Shinsei yochi zenzu – Map of the world divided into two hemispheres.

Through digitisation, gradually more maps will become widely available and can be accessed through other sites. Our Collection will complement other digital collections by allowing related materials to be compared and contrasted; an example is the distinguished Japanese Historical Map Collection at the University of California housed on the Berkeley campus in the C.V. Starr East Asian Library. A large portion of this great collection has been digitized by David Rumsey and Cartography Associates and is available for viewing online at the Japanese Historical Maps website.

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Japanese 48: Kaihō Kyō Ezu – Map of Kyoto – Image No.: jrl15070831

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Kaihō Kyō Ezu – Map of Kyoto – Image No.: jhm000232a

Cartographically, The John Rylands copy, hand-coloured with numbers annotated in red ink (Image No.: JRL15070831) is similar to the one from the East Asian Library (Image No.: jhm000232a).

The digital records of the Japanese Maps are now uploaded into The University of Manchester Library, Image Collections – LUNA as part of the Maps Collection. They are freely available for research, teaching and learning purposes, as well as to those with an interest in cartography. Both metadata and images can be downloaded or printed directly from LUNA.

Interdisciplinarity: Inside Manchester’s ‘arts lab’

‘Work at the CHICC is also revolutionizing understanding of papyri and palimpsests — manuscripts from which text has been erased to allow reuse of the page.’

CHICC’s ‘techniques have helped Elizabeth Savage to identify some of the earliest examples of printed gold ink.’

Detail of gold and black ink under raking light, from Lucas Cranach the Elder, St. George, 1507, colour woodcut from two blocks on prepared paper, 23.3 x 15.9 cm. London, British Museum, 1895, 0122.264. Image copyright of the British Museum. Image created by Gwen Riley Jones, Centre for Heritage Imaging and Collection Care, University of Manchester.

Detail of gold and black ink under raking light, from Lucas Cranach the Elder, St. George, 1507, colour woodcut from two blocks on prepared paper, 23.3 x 15.9 cm. British Museum, London, 1895, 0122.264. Image copyright of The Trustees of the British Museum. Image created by Gwen Riley Jones, Centre for Heritage Imaging and Collection Care, University of Manchester.

Detail of gold and black ink with hand colouring under raking light, from Attr. Hans Weiditz the Younger, Holy Roman Emperor Charles V (1519), 35.6 x 20.3 cm. Printed by Jost e Negker, Augsburg. British Museum, London, 1862, 0208.55. Image copyright of The Trustees of the British Museum. Image created by Gwen Riley Jones, Centre for Heritage Imaging and Collection Care, University of Manchester.

Detail of gold and black ink with hand colouring under raking light, from Attr. Hans Weiditz the Younger, Holy Roman Emperor Charles V (1519), 35.6 x 20.3 cm. Printed by Jost e Negker, Augsburg. British Museum, London, 1862, 0208.55. Image copyright of The Trustees of the British Museum. Image created by Gwen Riley Jones, Centre for Heritage Imaging and Collection Care, University of Manchester.

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Detail of colour woodcut from seven blocks under raking light, from Attr. Hans Weidlitz the Younger, Arms of Cardinal Matthāus Lang von Wellenburg (1520), 27.4 x 20.6 cm. Frontispiece to Liber selectarum cantionum, ed. Ludwig Senfl (Augsburg: Sigmund Grimm and Marx Wirsung, 1520). The British Museum, London, 1895, 0122.409. Image copyright of The Trustees of the British Museum. Image created by Gwen Riley Jones, Centre for Heritage Imaging and Collection Care, University of Manchester.

More on the techniques used by CHICC to reveal these exciting new discoveries in a post next week. But for now, read more about how the work of CHICC is underpinning activity at The John Rylands Research Institute – or ‘arts lab’ here:

http://www.nature.com/nature/journal/v525/n7569/full/525318a.html#close

Kilpeck Church

This week we digitised pages from George Lewis’ illustrated book of Kilpeck Church in Herefordshire. The Lithographs are by Day & Haghe……..

Newman Archive

This week we digitised pages from George Lewis’ illustrated book of Kilpeck Church in Herefordshire. The Lithographs are by Day & Haghe.

Cardinal Newman is mentioned in the list of Subscribers on the 7th page.

The cropped images below are a small selection of the pages loose in a folder of Batch 8.

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South East View

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Interior

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Corbels

B166_F002_D001_P068

Elaborate West Window carvings

B166_F002_D001_P069

Corbels

B166_F002_D001_P073

Arched South Doorway

B166_F002_D001_P079

Columns of the Chancel Arch

B166_F002_D001_P086

Carved Stoup

B166_F002_D001_P087

The Symbols of the Evangelists in the Holy of Holies

B166_F002_D001_P090

View of Pilbeck from Dippers Moor

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Another interesting web page with further photographs about Kilpeck Church can be found here.

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