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3D in the 18th century: John Cowley’s appendix to Euclid’s Elements (1758)

ErikaDelbecque21 June 2019

Ever since the fifteenth century, printers have grappled with the question of how to make geometrical texts easier to understand by illustrating the text with diagrams. However, the flat surface of a page does not easily lend itself to the clear illustration of complex multi-dimensional figures. In a rare 18th-century edition of Euclid’s Elements that UCL Special Collections recently acquired, John Cowley introduced a new technique that enabled readers to create three-dimensional figures while they studied Euclid’s text.

Elements of Geometry by the ancient Greek mathematician Euclid is a mathematical treatise on geometry and the theory of numbers. Dating from around 300 BC, it became the most influential mathematical text ever written. It remained a standard work until the 19th century, and its influence on mathematics, modern science and the reception of classical philosophy cannot be underestimated.

The Elements has also assumed a central position in printing history from the very beginning. It was one of the earliest mathematical works to be printed (you can find a copy of the first edition of 1482 in our collection), and it is one of the most extensively printed texts ever written, with the number of known editions second only to the Bible. Because the text is typically accompanied by diagrams that illustrate Euclid’s figures, editions of the Elements are also an important source for the study of the history of typography and graphic design.

University College London holds the largest dedicated collection of editions of Euclid in the world. The core of this collection was donated in 1870 by John Thomas Graves (1806-70), Professor of Jurisprudence at UCL, as part of his magnificent mathematical library collection. It has since been added to by subsequent purchases, and now numbers 430 works. The acquisition of the first edition of John Cowley’s An appendix to Euclid’s Elements has filled a conspicuous gap in the collection.

John Cowley was a leading mathematician of the 18th century. He had a particular interest in how to make Euclidean geometry easier to understand for students. Cowley’s 1758 edition of the sections of the Elements dedicated to solid figures presented an important innovation in the visual representation of Euclid’s figures. It includes 42 diagrams printed on pasteboard, designed to be folded into three-dimensional pop-up figures by the reader. The accompanying text contains step-by-step instructions for folding the figure.

Although the use of pop-up diagrams in editions of the Elements was not new (the first attempt at using these can be found in John Day’s edition of 1570), Cowley’s edition introduced more advanced folding techniques than any previous diagrams, and it was the first attempt at representing polyhedrals in a three-dimensional way. The success of his approach is apparent from the publication of a second edition in 1765, of which there are two copies in the Graves Library collection.

Our copy of Cowley’s 1758 edition will be on display at our South Junction Reading Room between 12 and 2 on Tuesday 27th August as part of our weekly drop-in Rare-Books Club, which is open to all. It is also available for consultation in our reading room, and for use in teaching and academic events. Contact Special Collections for more information.

This acquisition was made possible by a generous grant from the Friends of the National Libraries.

Further reading

Eunsoo, Lee (2018). Let the Diagram Speak: Compass Arcs and Visual Auxiliaries in Printed Diagrams of Euclid’s Elements. Endeavour 42 (2018), 78–98

Conserving controversial literature: access and safe handling

ErikaDelbecque20 May 2019

This blog post was written by Marina Pelissari, MA Book Conservation student at Camberwell College of Arts

For the Final Project of my MA in Book Conservation at Camberwell College of Arts I was given a semi-limp vellum binding to conserve by UCL Special Collections. This volume contains five early 17th-century controversial tracks, including texts against Islam, Catholicism, and Astrology, as well as a copy of Daemonology, written by King James I, about demons and sorcery.

The five books have a parchment cover with boards made of recycled blind tooled leather, which is an unusual re-use of materials for this kind of binding. The main problem concerning the use and handling of this volume is that the text block is detached from its cover. The alum-tawed sewing supports that make this attachment are completely broken.

This book is used as a teaching aid in seminars at UCL, where students can examine it closely. Being an interesting book for its content as well as its binding, it is important to ensure its accessibility and its safe handling. To ensure these, the conservation project included, along with the extension of the sewing supports to re-lace the parchment cover, surface cleaning, repairing the paper tears and losses, repairing and flattening the distortions of the parchment.

Left: Alum-tawed leather extensions of the sewing supports. Right: Parchment cover being tension dried by using magnets.

The parchment cover has yet another interesting feature: the spine shows faded manuscript writing. Thanks to a collaboration with the UCL Special Collections Conservation Studio and PhD student Cerys Jones (UCL Medical Physics and Biomedical Engineering), a further analysis of the spine cover by using multispectral imaging revealed the content of the writing and shone more light on the history of the book. We all accompanied Cerys in the imaging session, where she explained the process.

Multispectral imaging has been used to recover lost features in heritage materials, such as text and drawings. This process involved illuminating the object with ultraviolet, visible and infrared light, while pictures of the different steps were taken. The multispectral images enhanced the contrast between parchment and ink, so as to making the writing legible, since parchment is fluorescent under ultraviolet light, whereas ink is not.

The images obtained showed six sentences separated by horizontal lines. The last five were immediately identified as the titles of the aforementioned five books, and they appear in the same order as the books are bound. The first title, however, did not correspond to any recognizable book within the volume.

At the beginning it was thought that it could be a title given to the collection. After a closer analysis, Cerys and Erika Delbecque, the Head of Rare Books at UCL, identified the writing as “Anatomy of Abuses”. Further researches revealed that this is the title of a pamphlet written by Philip Stubbes, first published in 1583. In his book, Stubbs “condemns such vices as usury, gluttony, promiscuity and excessive expenditure on clothing as behaviour unfitting a true Christian, and further denounces both popular entertainments and traditional rural festivals as enticements down the road to hell and damnation.” (Kidnie, 1996).

This discovery has suggested the theory that the volume had a first pamphlet bound together with the other five. “Anatomy” had six editions. The last one, dated 1595, contains 144 pages printed in the quarto format, which is the same format as the other books contained in the volume. The presence of the title on the cover and the content of the tract, that matches the others in its controversial nature, make it seems plausible that “Anatomy of Abuses” was part of the volume. However, it can be argued that there is not enough space in the binding to contain it, since the cover is already somewhat short for the text block. At this point, it is only possible to speculate, without drawing any certain conclusions.

The conservation treatments are currently under way. The final result will be shown during the final exhibition of the graduates from the MA Conservation at the Camberwell College of Arts, between the 18th and the 23th of June, which is open to the public. The book will then be available as a teaching aid for UCL students and for research at the Special Collections.

‘Special Collections Presents…’ Returns!

Vicky APrice14 May 2019

Have you ever wondered whether our Rare Books team have favourite items, or with what kind of mysteries our archivists are grappling? Or perhaps you’ve hoped to catch a glimpse of one of our unique and beautiful manuscripts? Then Special Collections Presents… is the event for you!

We are pleased to announce that UCL Special Collections will be running our annual ‘open day’, Special Collections Presents…, as part of UCL’s Festival of Culture on June 5th 2019. This popular event is free and open to all.

We will be presenting a wide selection of items from the collections in half hour slots.  Visitors can choose an area of interest and book a free slot.

Visitors will be able to choose between a varied programme of displays that showcase many areas of interest and research:

  • Geography textbooks from the 18th and 19th century from the UCL Institute of Education Library
  • Works from the fascinating Ogden collection, whose recent cataloguing has revealed a wealth of hidden detail lurking behind their respectable titles (these item were part of Charles Kay Ogden’s private library, described in his own words as presenting “semantics, meaning, word magic…sign systems, symbol systems and non-verbal notations…universal language, translation and simplification”)
  • Items displaying UCL’s own students’ voices from the past; student magazines, debating society minutes, petitions and more from the College Archive
  • Treasures of print, including some famous publications; a rare and very early King James I Bible (1612), Hooke’s Micrographia (1667) and Chertsey’s The crafte to lyve well and to dye well (published in 1505 by Wynkyn de Worde who was known for his work with William Caxton)
  • Marking the launch of a new online catalogue, items from the recently catalogued Alex Comfort Papers will be on display (Comfort was a writer, Director of research in Gerontology in the Zoology department at UCL in the 1960s and ‘70s, an activist in many areas including nuclear disarmament – perhaps best known as the author of the cult publication The Joy of Sex).
  • Items exploring alternative youth movements from the Forest School Camp and the Woodcraft Folk archives, held at UCL Institute of Education
  • A collection of archival items from the Huguenot Library that provide unique insight into the lives of Huguenot immigrants and refugees in the 17th and 18th
  • Autograph letters from 19th and 20th century writers; tales of success, failure and domestic life.  Among others, this will include Dickens, Orwell, T S Eliot, Graham Greene, Iris Murdoch, Radclyffe Hall.

 

This event is open to all – but especially the curious…

Book your free ticket.

‘A book full of anxieties’: The Nonesuch Press edition of Dante’s Divine Comedy

ErikaDelbecque3 May 2019

Our copy of the 1928 Nonesuch Press edition of Dante’s Divine Comedy

The production of the 1928 Nonesuch Press edition of Dante’s Divine Comedy was beset with difficulties. The handmade paper from Italy that had been ordered was so defective that it was unusable, and the stained orange calfskin that was used for the binding, which naturally shrinks and extends in reaction to changes in temperature and humidity, made the boards warp. Francis Meynell, one of the founders of the Press, wrote that ‘it has been a book more full of anxieties than any I have ever tackled’ (Quoted in Dreyfus, p. 46). Nevertheless, the book became an unprecedented success for the Nonesuch Press; it was the most oversubscribed of all of their publications.

The beginning of Dante’s famous work

Meynell founded the Nonesuch Press imprint in 1923 with his wife, Vera Mendel, and the writer David Garnett, with the aim of applying advances in mechanical book production to fine book printing. As opposed to the private presses of the late 19th and early 20th centuries, which according to Meynell produced prohibitively expensive books intended to grace library shelves rather than to be read, the aim of the Nonesuch Press was to produce well-made appealing books that were available at relatively low prices. They specialised in carefully designed editions of established literary works, often illustrated by contemporary artists.

Their edition of the Divine Comedy, of which 1,475 copies were printed, presents Dante’s Italian text alongside an English translation. The italic type and the use of roman capitals to mark the start of each line was inspired by the page design of Venetian books from the early sixteenth century. Meynell preferred to use italic fonts for poetry as he felt that it encouraged the reader to slow down. The volume includes 42 illustrations after the famous Renaissance painter and fellow Florentine Botticelli. He designed 19 engravings for Nicholo di Lorenzo della Magna’s 1481 edition of the Divine Comedy, of which we also hold a copy (INCUNABULA FOLIO 6 b ), and he illustrated a late 15th-century manuscript of the work with 92 drawings.

One of the reproductions of Botticelli’s illustrations

The book will be added to our unrivalled Dante collection, which comprises of over 4,000 editions of Dante’s work from the fifteenth century to the present day. When the Nonesuch Press edition was published, a reviewer wrote in the Spectator that he hoped that the copies would not go to ‘those perverse bibliophiles who thwart the holy intention of books by locking them uncut upon their jealous shelves’ (Quoted in Dreyfus, p. 46). He can rest assured when it comes to copy number 868 – it has joined fellow Dante editions on our shelves, waiting to be requested by eager readers.

Further reading

Dreyfus, John. A history of the Nonesuch Press. London: Nonesuch Press, 1981.

BBC Broadcasts and ‘Back in Time for School’

NazlinBhimani1 March 2019

Back in Time for School takes a group of fifteen children and their teachers back through time to experience what schooling was like at different times, from the Victorian period up to the 1990s. Last summer, I was involved in doing some research for the second episode on the ‘King’s English’, which was a speech and language programme that began in the interwar period. To do this, I used the BBC Broadcasts for Schools Collection which I have introduced in an earlier post on the IOE Library’s blog, Newsam News.

The BBC introduced wireless lessons for schools during the interwar period, the earliest of these date from 1924. Schools were expected to adapt their timetables to accommodate these lessons and the BBC were keen on the ‘wireless teacher’ and the ‘class teacher’ collaborating so that both the children and the class teachers would ‘enter into the spirit of the lesson’. Class teachers were also expected to use the pamphlets produced by the BBC as guides and to make time after the transmission to answer questions that may arise. This would, according to the BBC, ‘treble the value of the lesson’! [1] Teachers were to report to the BBC any difficulties they experienced with the broadcast transmission and to comment on the content of the lessons.

The ‘King’s English’ began life as ‘Our Native Tongue’ in the 1920s.  The title is representative of the focus on the importance of English as the language of the Empire and the necessity of ensuring young children learnt how to speak the native tongue.  The programme had several name changes: In 1927, it changed its name to ‘Speech and Language’; from 1931 to 1934, it was called ‘King’s English’; and subsequently, it became ‘English Speech’.

In the early days, the programme was presented by A. Lloyd James who was a lecturer in phonetics at the London School of [African and] Oriental Studies (SOAS).  Lloyd James was a Welshman and a founding member of what later became the BBC’s Advisory Committee on Spoken English.[2] In the 1927 volume of the schedules of school broadcasts, Lloyd James explained to teachers:

The object of the talks is to arouse interest in the sounds of our native tongue, and to give some practical training in hearing and making these sounds.  Each practical lesson will be preceded by a little talk on some aspect of the subject. Very elementary notions of the history of our language may form a part of these talks, and may occasionally be read in the actual pronunciation of Chaucer and Shakespeare to give the children some idea of what English sounded like in those days.

Nothing in these talks will be said that will reflect adversely upon local dialects, and no invidious comparisons will be made between class dialects. Good northern English is as good as good southern English, etc.[3]

Lloyd James was clearly celebrating the glories of a richly diverse range of forms of English, as embodied in Chaucer and Shakespeare inviting children to become fascinated with the varieties of English. He was also at pains to point out that these lessons were not meant to reflect adversely on local dialects or to make comparisons between class dialects, and that northern English was as good as southern English. But the reality of this couldn’t be further from the truth.  Children who spoke well were likely to have a better chance of getting employment in the professional sphere (instead of manual or factory work) and thereby having the chance of climbing up the social ladder.

By the 1930s, the programme was well established in the lists of courses offered by the BBC to schools as it followed the guidelines recommended by the Board of Education which urged that ‘standard English should be taught’ without suppressing the peculiarities of dialect.This reference was from the Newbolt report on the teaching of English which was published by the Board of Education in 1921. Taking into consideration the ‘valuable constructive criticism’ from teachers, in the 1930s, Lloyd James (now referred to as ‘Professor’) modified the course to include rhythm and intonation, in addition to the practical drill in pronunciation of separate sounds. [4]

You can watch a short documentary on the Broadcasts for Schools in the second episode of Back in Time for School (on BBC iPlayer), get a taste of what the ‘King’s English’ sounded like and hear a wireless lesson from the interwar period at 33’50”.  You may end up giggling with the children as you try to purse your lips to speak R.P. (Received Pronunciation) or the ‘King’s English’. I wonder though if this will bring back memories of school for some of you.

If you miss the broadcasts, you can catch up on Box of Broadcasts for which UCL has a subscription.  You may need to access this from Desktop@UCL Anywhere

REFERNCES

[1] Lloyd James, A. (1927), “Foreword to Teachers” In:  BBC Broadcasts for Schools, Vol. 1, pp. 7-8.

[2] Mugglestone, Lynda. “Spoken English and the BBC: In the Beginning.” AAA-Arbeiten aus Anglistik und Amerikanistik 33, no. 2 (2008), 6. Unfortunately, Lloyd James’ career ended in the 1940s when he bludgeoned his wife to death – see more here, especially the newspaper articles about this sensational crime.

[3] Lloyd James, A. (1927), “Foreword to Teachers”, pp. 7-8.

[4] BBC, Broadcasts for Schools: April 18th April to 17th, 1932. Vol. 9, p. 21.