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This article explores the production of an edition of John Foxes Acts and Monuments (more popularly known as the ‘Book of Martyrs’), printed by Adam & Co. in 1873. The edition was prefaced by an Irish cleric, Rev. S.G. Potter, who, at the time of production, was vicar of St Lukes parish in Sheffield. This article investigates Potters career as a Protestant cleric and Orangeman, examining why he might have been chosen to preface a new edition of Foxes martyrology. Consideration is then given to the illustrations contained within the 1873 edition and what relation they bare to the woodcut illustrations in the editions of the Acts and Monuments printed during Foxes lifetime. This reveals a markedly different agenda behind the choice of illustration in the Elizabethan and Victorian editions.
In the early gothic literature of the eighteenth century danger lurked in the darkness beneath the pointed arches of gothic buildings. During the nineteenth century, there was a progressive, although never complete, dislocation of gothic literary readings from gothic architecture. This article explores a phase in that development through discussion of a series of dark illustrations produced by Hablot Knight Browne to illustrate novels by Charles Dickens. These show the way in which the rounded arches of neo-classical architecture were depicted in the mid-nineteenth century as locales of oppression and obscurity. Such depictions acted, in an age of political and moral reform, to critique the values of the system of power and authority that such architecture represented.
John Atkinson Kerr’s The Monster and Magician (1826) – and the stage adaptations were published with illustrations depicting the actors and moments from the plays. Additionally, the 1831 Colburn and Bentley edition of the novel, the first to bear Mary Shelley’s name, was published with two illustrations by Theodore von Holst, one depicting Victor’s terrified flight from the new-born Creature and the other Victor and Elizabeth. The 1922 Cornhill edition offered three illustrations by Carl Lagerquist, two of which focus on the Creature’s creation. Thus, prior to the