Items
Date is exactly
1896
-
Miscarriage Specimens A single printed page from the “Transactions of the Michigan State Medical Society for the Year 1896” displays four images of fetal tissue in glass jars, each labelled in a small serifed font. These photographs appear in a medical article by William C. Stevens titled “Partial Abortion; Expulsion of the Amniotic Sack Alone; Three Specimens,” which demonstrates how late-century medical professionals used such specimens. Captions for each image describe the size of the specimens: specimen 1, at the top left-hand corner, is “½ natural size”; specimen 2, at the top right-hand corner, is “2/3 natural size”; specimen 3, at the bottom left-hand corner, is “½ natural size”; specimen 4, at the bottom right-hand corner, is “2/3 natural size.” The details of the specimens are unclear due to the grainy quality of the halftones (a type of mechanical reproduction that allowed photographs to be reproduced as prints). -
Clemence Housman's "The Were-Wolf" Clemence Housman’s "The Were-Wolf" is an illustrated novella published in 1896. Housman wrote the story and engraved the six illustrations, which were designed by her brother Laurence. The title page, printed in orange ink, acknowledges Clemence Housman as the author and Laurence Housman as the illustrator, as well as the novella’s publication date and its publishers in London and Chicago (John Lane and Way and Williams, respectively). However, as often happens in Victorian illustrated books, Clemence Housman’s role as the wood engraver remains unacknowledged. The engraved full-page illustration included here, “Rol’s Worship,” shows three young men working at a table; a small child hangs on to the legs of the man on the left. The background includes two women, partly obscured by the figures in the foreground. The various textures of wooden flooring, human skin, and fabric are represented by patterns of wood-engraved cross-hatched lines. Denser hatching suggests shadow on the ceiling and floor; white space and lighter patterns of lines show where backlighting brightens the scene. In the bottom left corner, Laurence Housman’s initials appear in block capitals. The complete, rectangular image is framed by white space but not centred on the page, leaving a greater amount of blank paper below and to the right of the illustration.