Goblin Market, published in 1865. The double-page spread was illustrated by her brother, Dante Gabriel Rossetti.]]> Christina Rossetti]]> Books]]> ‘Goblin Market’ and Selected Poems, providing eleven images throughout the volume. This much lighter illustration was chosen for the frontispiece. Sisters Laura and Lizzie are present, but there is no sign of any evil goblins. This new Folio Society edition was donated to Special Collections by Emeritus Professor Colin Gibson.]]> Christina Rossetti]]> Books]]> Companion is a catechetic work intended for use as a guide to the ‘Festivals and Fasts of the Church of England’. The frontispiece of this edition shows two Saints of the Church in the act of martyrdom. In the foreground, Stephen, who was falsely accused of blasphemy, is being stoned to death; and in the background, James the Greater, one of Jesus’ Apostles, is being beheaded by Herod Agrippa (11BC- 44AD). Above both of these scenes, angels appear holding crowns and palms, to be bestowed on the martyrs as they make their ascension into the Kingdom of God. This engraving, by Flemish engraver Michael van der Gucht (1660-1725), is a reworking of the same from a previous edition.]]> Robert Nelson]]> Books]]> Ian Rogerson]]> Books]]> [William Dodd]]]> Books]]> Essay on the First Book of T. Lucretius, its first appearance in English. The frontispiece was designed by Mary, Evelyn’s wife. Evelyn had training as a draftsman and he must have given her some instruction on composition. Although the head in profile in the wreathed medallion is supposed to be Lucretius, it is, as commentators have noted, very much like Evelyn himself.]]> John Evelyn]]> Books]]> Robert Lambe]]> Books]]> John Nalson]]> Books]]> A. Millicent Brown and E. Bleazby]]> Books]]> Present State of England fell to one of his sons, John (c.1668-1723). In 1704, Mary II’s sister and William III’s cousin, Anne, had been Queen for two years. Here she is in the frontispiece for the twenty-first edition. Her portrait was engraved by eminent English artist, Robert White (1645-1703), and was possibly a reused plate since the volume was published after his death. White was a prolific engraver, producing over 400 images during his career, including a portrait image of Queen Anne’s husband, Prince George of Denmark.]]> Edward and John Chamberlayne]]> Books]]> Present State of England in 1669; another two editions followed in the same year. The book is a record of every aspect of English society, and described as a ‘strong monarchist panegyric’. Over 30 editions were printed within 100 years, and each editon's frontispiece engravings represented a change, or not, of monarch. In 1684, Charles II (1630-85) was king after the Restoration in 1660. He is flanked by the two men who filled the highest-ranking offices in the Kingdom: on the left William Sancroft (1617-93), the Archbishop of Canterbury (left), and on the right, Francis North, Lord Keeper of the Great Seal, who holds the purse in which he keeps the actual Seal.]]> Edward Chamberlayne]]> Books]]> Present State of England had been through seventeen editions, and there had been a change of monarch. Charles II died in 1685 and was succeeded by his brother James II (1633-1701). James, in turn, was replaced after the Glorious Revolution in 1688, by his nephew and his daughter, William and Mary, who had married in 1677. In the frontispiece of the 1692 volume, here, King William III (1650-1702) and Queen Mary II (1662-94) sit upon their thrones, holding their own royal sceptres but sharing the monarchical orb.]]> Edward and John Chamberlayne]]> Books]]> Present State.]]> Edward and John Chamberlayne]]> Books]]> Antiquitatum Romanorum contains another example of what might be termed a ‘double frontispiece’. A portrait of German theologian, antiquarian, and author, Kipping (1623-78), sits on the left. A more elaborate frontispiece, on the right, represents the subject of the book: all things Roman. It is full of imagery associated with the Empire: the eagle (Aquila) – for the Roman military; the initials SPQR – for Senatus Populusque Romanus (the Senate and the People of Rome); under the right wing of the eagle sits a fasces – a bundle of rods with a protruding axe head, symbolising the power and jurisdiction of a magistrate; the Pantheon, the Colosseum, and the Circus Maximus; and Romulus and Remus suckling from the she-wolf.]]> [Heinrich Kipping]]]> Books]]> Anabasis of Alexander the Great’s conquests (4th cent. BC) would have to resort to Google to decipher the imagery in the frontispiece. Victory, personified, stands upon the peoples Alexander has vanquished – the Persians, the Egyptians, the Punjabis. The scene in the distance represents his Siege of Tyre, now in Turkey. Alexander, a military genius, built a mole or pier upon which to stand his siege towers. He breached the heavily fortified walls of the castle built on the island and conquered the city-state – ‘Tyre was his [military] masterpiece’ (Cartledge, 2004).]]> [Arrian of Nicomedia]]]> Books]]> Back + Forth is a visual narrative. There is no text in this 187 page novel, only linocuts, printed in black, grey, or sepia. It is a true wordless novel, where the reader gathers personal meaning from the images. This process in itself creates the words that encompass what is (and will be) a very personal tale. It seems that the artist has specifically drawn the image for the frontispiece. The inclusion of the letters ‘B + F’ reiterate in a very simple way the title, thereby connecting it back to the whole book.]]> Marta Chudolinska]]> Books]]> British Theatre series included tragedies and comedies, often featuring the most popular, contemporary plays. Bell employed the services of engraver, John Hall (1739-97) and his studio, to embellish his publications. Hall executed the engraving for the frontispiece on the right. It is signed. The frontispiece on the left, however, is not signed and could either have been done by Hall or one of his employees; there are plates throughout the text supplied by his studio. On the left, Britannia sits with her shield and spear, a bearded, winged man kneels before her; on the right, a tragic female figure laments the sinking of a ship.]]> ___]]> Books]]> Britannia, is full of symbolism. At the top, Britain, personified, sits on a rock with spear and standard in hand. The map of Britain, imprinted with the names of pre-Roman tribes, is flanked by Neptune and Ceres, depicting fertility on both land and sea. At the bottom, a ship, Stonehenge, Roman baths, and a church symbolise Britain’s formidable navy, her history, and strong Christian faith, respectively. Despite its position, to the right, this engraving is essentially a frontispiece, not a title page.]]> [Willliam Camden]]]> Books]]> The Imitation of Christ, by German priest Thomas à Kempis (1380-1471), is one of the most widely read Christian texts in history; it has gone through hundreds of editions. This particular volume was printed by John Hayes, Cambridge University Printer, in 1685.]]> [Thomas à Kempis]]]> Books]]> Dramas and Other Poems by Metastasio (Pietro Antonio Domenico Trapassi, 1698–1782), thought otherwise. Each of the three volumes contain a frontispiece evoking a dramatic scene, like this one of Zopyrus striking at Zenobia, while Rhadamistus readies himself to prevent the action. Drawn by Thomas Stothard (1755-1834), a Royal Academy member, and friend of William Blake, the image is apt, especially for Metastasio, who was known to conjure up dramatic situations in his works. This scene was engraved by Anker Smith (1759–1819), a printmaker and miniature painter, who was related to the translator, John Hoole.]]> Pietro Metastasio]]> Books]]> Handbuch der Physiologie des Menschen. Figures 1 to 6 show the ‘particles from the blood of different animals’ magnified 400 times. The very detailed steel plate was produced by copper and steel engraver Henry Adlard (1799-1883), who worked in London. Professionally he was held in high regard and was often employed as an expert witness in trials of forgery and deception.]]> J. Müller (Translated by William Baly)]]> Books]]> E. Mervyn Taylor]]> Books]]> Every Man his Own Gardener was first published in 1767. Over the next 100 years and 21 editions, it would become one of the most important gardening books of the time. The frontispiece for the first edition was drawn and engraved by eminent English engraver, Isaac Taylor (1730-1807). Taylor’s image, or a reworking of it, was used as the frontispiece for the first fifteen editions. However, from the sixteenth edition onwards, the frontispiece was changed, and it depicted the author, John Abercrombie (1726-1807), Scottish gardener and horticulturalist. Thomas Mawe, gardener to the Duke of Leeds, lent his name as author of the book to increase the book’s saleability and was paid £20 for his trouble.]]> Thomas Mawe and John Abercrombie]]> Books]]> Faust (first published in 1808).]]> Johann Wolfgang von Goethe]]> Books]]> Free Russia, but the landscape orientation lends itself well to the depiction of the far-reaching Russian steppe. Here Cossacks (Kozaks) and soldiers of Kyrgyzstan (Kirchiz) accompany the infantry.]]> William Hepworth Dixon]]> Books]]>