Bone Study Reveals Richard III Ate Like A King, Drank Like A Fish
The Shakespeare Conference: SHK 25.357 Thursday, 21 August 2014
From: Hardy M. Cook <
Date: August 21, 2014 at 10:07:45 AM EDT
Subject: Bone Study Reveals Richard III Ate Like A King, Drank Like A Fish
Journal of Archaeological Science
Multi-isotope analysis demonstrates significant lifestyle changes in King Richard III
Angela L. Lamb, Jane E. Evans, Richard Buckley, Jo Appleby
The discovery of the mortal remains of King Richard III provide an opportunity to learn more about his lifestyle, including his origins and movements and his dietary history; particularly focussing on the changes that Kingship brought. We analysed bioapatite and collagen from sections of two teeth which formed during Richard's childhood and early adolescence, and from two bones: the femur (which averages long-term conditions), and the rib (which remodels faster and represents the last few years of life). We applied multi element isotope techniques to reconstruct a full life history. The isotopes initially concur with Richard's known origins in Northamptonshire but suggest that he had moved out of eastern England by age seven, and resided further west, possibly the Welsh Marches. In terms of his diet, there is a significant shift in the nitrogen, but not carbon isotope values, towards the end of his life, which we suggest could be explained by an increase in consumption of luxury items such as game birds and freshwater fish. His oxygen isotope values also rise towards the end of his life and as we know he did not relocate during this time, we suggest the changes could be brought about by increased wine consumption. This is the first suggestion of wine affecting the oxygen isotope composition of an individual and thus has wider implications for isotope-based palaeodietary and migration reconstructions.
Bone Study Reveals Richard III Ate Like A King, Drank Like A Fish
In his short two-year reign, King Richard III managed to cram in a fair amount of feasting, researchers say in a new report.
Known as the “last Plantagenet king,” Richard III assumed the British throne in 1483, only to be killed in battle—the last English king to die this way—two years later. His remains went unaccounted for until 2012, when archaeologists discovered his mangled skeleton underneath a parking lot in central England.
A recent bone chemistry analysis, conducted by the British Geological Survey and scientists from the University of Leicester, shows Richard III ate swan, crane, heron and egret, in addition to freshwater fish. The high-status meals were also washed down with copious amounts of wine.
The study, published online on Saturday in the Journal of Archaeological Science, analyzed bone samples taken from the king’s teeth, femur, and rib. Each of the three bone structures develops at a different time in life, thus providing scientists a window into shifts in Richard’s diet and environment from childhood until his death at the age of 32.
[ . . . ]
Swan, egret, heron: Revealed - the Richard III diet
His daily diet included crane and egret, washed down with a bottle of wine. The reign of Richard III only lasted two years but the king used that time to indulge a secret passion for the finer things of life, according to new research.
The monarch, depicted by William Shakespeare as a Machiavellian villain who murdered his way to the throne, enjoyed a debauched lifestyle of feasting and heavy drinking. His love of fine food and wine shows another side to the king dubbed a “poisonous bunchback’d toad” in Shakespeare’s Richard III.
After ascending to the throne in 1483, he embarked upon an orgy of drinking and eating, consuming copious amounts of wine and an array of rich food including exotic meats, freshwater fish such as pike, and birds such as swan and heron.
[ . . . ]
The New York Times
The Richard III Diet: Wild Birds, Frequent Feasts and Plenty of Wine
It is good to be king, even if only for two years. British researchers analyzing the bones of Richard III have found that Shakespeare’s most nefarious royal lived high on the hog after taking the throne, at age 30, in 1483. Even by the lofty standards of the nobility, he dined sumptuously and drank lavishly, judging by chemical traces left in his skeleton and examined, using multi-isotope techniques, by scientists at the British Geological Survey and the University of Leicester. Their findings were posted online by the Journal of Archaeological Science.
[ . . . ]
The Shakespeare Conference: SHK 25.356 Thursday, 21 August 2014
From: Hardy M. Cook <
Date: August 19, 2014 at 5:08:26 PM EDT
Subject: Recording Julius Caesar
In the Studio: Recording Julius Caesar
The very talented Robert Richmond (the upcoming Julius Caesar, Richard III, Twelfth Night, Henry V, and Henry VIII) returned to Omega Studios last week along with a cast of Folger favorites to record Julius Caesar in advance of the production opening in October. The recording will be available through the Folger Luminary App, as well as on CD through Simon and Schuster audio.
Zach Appelman (Henry in Henry V at Folger Theatre) plays Mark Antony in the audio recording. Here is a sneak preview of his performance with pinch hitting by William Vaughan (Sebastian in Twelfth Night) as Caesar’s servant.
Julius Caesar Audio Recording Cast
Mark Antony – Zach Appelman
Cassius – Louis Butelli
Brutus – Antony Cochrane
Calphurnia – Julie-Ann Elliott
Casca – Pomme Koch
Trebonius – Cody Nickell
Caesar – Todd Scofield
Portia – Emily Trask
Octavius – William Vaughan
[Editor’s Note: I saw Zach Appelman as Henry V, and he was stunning. –Hardy]
Folger Puts 80,000 Images of Literary Art Online
The Shakespeare Conference: SHK 25.355 Thursday, 21 August 2014
From: Hardy M. Cook <
Date: August 20, 2014 at 10:04:27 PM EDT
Subject: Folger Puts 80,000 Images of Literary Art Online
Folger Shakespeare Library Puts 80,000 Images of Literary Art Online, and They’re All Free to Use
Has a writer ever inspired as many adaptations and references as William Shakespeare? In the four hundred years since his death, his work has patterned much of the fabric of world literature and seen countless permutations on stage and screen. Less discussed are the visual representations of Shakespeare in fine art and illustration, but they are multitude. In one small sampling, Richard Altick notes in his extensive study Paintings from Books, that “pictures from Shakespeare accounted for about one fifth—some 2,300—of the total number of literary paintings recorded between 1760 and 1900” among British artists.
In the period Altick documents, a rapidly rising middle class drove a market for literary artworks, which were, “in effect, extensions of the books themselves: they were detached forms of book illustration, in which were constantly assimilated the literary and artistic tastes of the time.” These works took the form of humorous illustrations—such as the As You Like It-inspired satirical piece at the top from 1824—and much more serious representations, like the undated Currier & Ives Midsummer-Night’s Dream lithograph above. Now, thanks to the Folger Shakespeare Library, these images, and tens of thousands more from their Digital Image Collection, are available online. And they’re free to use under a CC BY-SA Creative Commons license.
As Head of Collection Information Services Erin Blake explains, “basically this means you can do whatever you want with Folger digital images as long as you say that they’re from the Folger, and as long a you keep the cycle of sharing going by freely sharing whatever you’re making.” The Folger’s impressive repository has been called “the world’s finest collection of Shakesperean art.” As well as traditional paintings and illustrations, it includes “dozens of costumes and props used in nineteenth-century Shakespeare productions,” such as the embroidered velvet costume above, worn by Edwin Booth as Richard III, circa 1870. You’ll also find photographs and scans of “’extra-illustrated’ books filled with inserted engravings, manuscript letters, and playbills associated with particular actors or productions; and a great variety of souvenirs, comic books, and other ephemera associated with Shakespeare and his works.”
In addition to illustrations and memorabilia, the Folger contains “some 200 paintings” and drawings by fine artists like “Henry Fuseli, Benjamin West, George Romney, and Thomas Nast, as well as such Elizabethan artists as George Gower and Nicholas Hilliard.” (The striking print above by Fuseli shows Macbeth’s three witches hovering over their cauldron.) Great and varied as the Folger’s collection of Shakespearean art may be, it represents only a part of their extensive holdings. You’ll also find in the Digital Images Collection images of antique bookbindings, like the 1532 volume of a work by Agrippa von Nettescheim (Heinrich Cornelius), below.
The collection’s enormous archive of 19th century prints is an especial treat. Just below, see a print of that tower of 18th century learning, Samuel Johnson, who, in his famous preface to an edition of the Bard’s works declared, “Shakespeare is above all writers.” All in all, the immense digital collection represents, writes The Public Domain Review, “a huge injection of some wonderful material into the open digital commons.” Already, the Folger has begun adding images to Wikimedia Commons for use free and open use in Wikipedia and elsewhere on the web. And should you somehow manage, through some voracious feat of digital consumption, to exhaust this treasure hold of images, you need not fear—they’ll be adding more and more as time goes on.
Reed Visiting Appointment
The Shakespeare Conference: SHK 25.354 Thursday, 21 August 2014
From: Hardy M. Cook <
Date: August 21, 2014 at 12:21:35 PM EDT
Subject: Reed Visiting Appointment
Visiting Appointment in Theatre (Directing, Theatre History)
The Reed College Theatre Department invites applications for a one year visiting assistant professor appointment in theatre, to start immediately, with an emphasis in directing and theatre history. Responsibilities will include teaching five courses (Directing I, Theatre History I, Applied Collaboration Techniques, and two electives) as well as advising senior theses. We are especially interested in scholar/practitioners who are able to teach broadly within the discipline, who are committed to teaching undergraduates in a liberal arts environment, and who will maintain an active scholarly and/or professional practice outside of Reed. Expertise in pre-twentieth century theatre history and/or non-western theatre is of particular interest. A PhD, DFA or equivalent degree is preferred, and successful college level teaching and professional experience required. Advanced graduate students who are ABD will be considered.
Reed College is a small, distinguished liberal arts institution committed to excellence in teaching and scholarship. Reed students are known for their outstanding intellectual engagement and creativity. Reed’s new Performing Arts Building, opened in Fall 2013, provides a vital facility for new initiatives in the performing arts and for fostering interdisciplinary opportunities across the college. Information about the department is available at http://academic.reed.edu/theatre/.
Electronic applications are required and must be sent as PDF (preferred) or Word attachment. Please send a cover letter, vita, and 3 letters of recommendation to
. Questions may be addressed to Peter Ksander, chair of the search committee, at
. Reed College is a community that believes that cultural diversity is essential to the excellence of our academic program. In your application materials, we welcome a description of how, as a scholar, teacher, or community member, you would engage and sustain the commitment to diversity and inclusion articulated in Reed College’s diversity statement (http://www.reed.edu/diversity/). If letters of recommendation must be sent in hard copy, please submit to Theatre Search, c/o Karin Purdy, Reed College, 3203 SE Woodstock Blvd., Portland OR 97202.
Deadline is rolling and consideration of applications will begin immediately.
An equal opportunity employer, Reed College values diversity and encourages applications from underrepresented groups. Reed College is committed to assisting all members of the Reed community in providing for their own safety and security. Information regarding campus safety, statistics and college policies is available on the Reed website at: http://www.reed.edu/community_safety/information/crime/ASR909.html
Deadline: Consideration of applications will begin immediately
The Shakespeare Conference: SHK 25.353 Thursday, 21 August 2014
From: Paul Muller-Reed <
Date: August 13, 2014 at 2:11:29 PM EDT
Subject: Shakespeare 4th Folio
I am the Pres. of New England Auctions and we will be auctioning off an original 1695 4th folio of Shakespeare's Works on Sept. 30th of this year.
Mr. William Shakespear’s Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, never before Printed in Folio: Viz. Pericles Prince of Tyre. The London Prodigal. The History of Thomas Lord Cromwel. Sir John Oldcastle Lord Cobham. The Puritan Widow. A Yorkshire Tragedy. The Tragedy of Locrine. The Fourth Edition.
London: Printed for H. Herringham, E. Brewster, and R. Bentley, at the Anchor in the Exchange, the Crane in St. Pauls Church-Yard, and in Russel-Street Covent-Garden. 1685.
Folio (13-1/2 x 8-1/2 inches). Engraved portrait of Shakespeare by Martin Droeshout printed on the initial leaf with Ben Jonson’s verses “To The Reader” printed below, ornamental woodcut initials. Collation: 2, A4; A-Y6; Z4; Bb-Zz6; *Aaa-*Ddd6; *Eee8; Aaa-Zzz6; Aaaa-Bbbb6; Cccc2. 458 leaves.
This volume is paged in three parts: 1-272, 1-328, 1-303, with the following irregularities in pagination: in part I, the pagination 96 is followed by 99; 160 by 163; 254 by 243; and that by 254 repeated. Pages 33, 107,109,190, 191, 219, 246 are respectively misprinted 23, 109, 111, 186, 187, 221, 234. In part III: page 67 is misprinted 76.
“Copies even of this edition are difficult to find in choice and pure state.” –Hazlitt, page 547.
The Silver-Mathews volume has been treated well over the years with many leaves retaining a freshness reflecting the care of ownership from the date of is printing. The leaves show a minimal evidence of handling with the exception of an occasional finger or ink smudge. An occasional stray ash has produced small holes on some leaves. An extremely skilled hand was given the task to close a few margin tears. Varying light browning and a light stain to the bottom margin sporadically affecting signatures.
Paper defect H2 (affecting 1 letter) and top margins of S2, Z2, Z4 & Oo4 , tiny ash holes affecting leaves *5, B6, G4, H3, M5, N3, N4, P2, Q, Cc2, Hh, Xx3, Ggg, Tt2, Uu5, Zz4, Ddd2, Fff2, Hhh5, Mmm6, Yyy5 (6 affecting a letter), skilled closed marginal tears to title (two – 1cm), frontispiece (3 at 2cm), *6 (2cm), B6 (1cm), P6 (1cm), Kk4 (1 cm), Kkk3 (1cm). Several later margin tears affect leaves Y3, Ee3, Ee5 & Nn4.
New England Auctions