A selection of wonderful little illustrations found in a Fifteenth Century Book of Hours attributed to an artist of the Ghent-Bruges school and dating from the late 15th century.
In the pages without full borders the margins have been decorated with an array of different images depicting flowers, birds, jewellery, animals, household utensils and these superb rainbow-coloured ‘grotesques’.
In 1934 Ernest Hemingway wrote down a list of two short stories and 14 books and handed it to a young out-of-work writer Arnold Samuelson (many of the texts you can find in the Open Culture collection of Free eBooks):
A postcard from the 1800s shows the seven dwarfs finding Snow White asleep in their bedroom. Hulton Archive/Getty Images
The Original Folk & Fairy Tales of the Brothers Grimm
by Jacob Grimm, Wilhelm Grimm, Jack Zipes and Andrea Dezso
It’s well-known that our favorite fairy tales started out darker than the ones Disney animators brought to life. But you might be surprised by how much darker the originals were.
For the first time, a new translation of the Brothers Grimm’s tales reveals exactly how unsanitized and murderous the bedtime stories really were.
Jack Zipes, author of The Original Folk and Fairy Tales of the Brothers Grimm, is the only person who has ever translated the first edition of their tales into English.
“Some of them are extremely dark and harrowing,” Zipes tells NPR’s Rachel Martin. “Many are somewhat erotic and deal with incest. Most of them are not what we call fairy tales; they tend to be animal tales or warning tales.”
Take, for example, Snow White. In the modern version of the tale, the Evil Queen is Snow White’s stepmother.
But in the first edition, Snow White is only 7 years old, and it’s her biological mother who wants to murder her for her beauty.
The stories are hardly appropriate for children by today’s standards, and at the outset, they weren’t intended to be.
The Grimms “collected these tales to show what life was like,” says Zipes. “And they wanted to reveal what they considered the divine truths of the tales.”
And the tales endure. Zipes says that’s because they resonate in every era. “I think they speak to the human condition. …
They also provide hope. For the most part, there is social justice in these tales and … we need that. We need the hope that these tales provide.”
James Gillray (1757-1815) was among the most popular, prolific, revered, and reviled print satirists of the golden age of English caricature, the late eighteenth century.
He took special delight in attacking the excesses of the royal family.
Here, he caustically depicts King George III, Queen Charlotte, and the Prince of Wales (later George IV) gorging themselves on the national treasury, labelled “John Bull’s Blood.”
The title, “Monstrous Craws,” refers to the rapidly expanding gullets dangling from the royal necks, probably inspired by the recent public display in London of three “wild-born human beings,” who apparently exhibited such features.
The Library acquired this print with almost 10,000 other English satires from the Royal Library at Windsor Castle in 1921.