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A young poet and artist by the name of William Blake traveled to the Tower from his Lambeth home to paint and rhapsodize about a Tower tiger and its "fearful symmetry"; a lion named Crowly received frequent visits from an enamored Samuel Pepys; and one visitor seen dropping in on the creatures of the Menagerie in 1389 was the man in charge of Tower upkeep during the reign of King Richard II, Geoffrey Chaucer." "Daniel Hahn's history of the Royal Menagerie in the Tower of London tells the story of the many exotic creatures who found a home in one of the world's most forbidding and infamous fortresses, and explores the way in which the concept of animal captivity for the purposes of entertainment, enlightenment, and science evolved over hundreds of years." "The Tower Menagerie provides survey of our changing attitudes toward animals, and a hugely entertaining journey through six centuries of British history."--BOOK JACKET.
A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.
Elin, now 14, has become a seasoned hand on Joeun's farm. But her peaceful life is turned on its head when Joeun's son shows up from the royal capital, urging him to return to his former post as headmaster of an academy for the country's elite. Life in the capital would take them far away from the beasts and animals Elin loves, to where people look down on her Ahlyo heritage. Worse yet, as a girl, she won't be allowed to attend the academy, and will soon be expected to find a suitable marriage match...
To modern sensibilities, nineteenth-century zoos often seem to be unnatural places where animals led miserable lives in cramped, wrought-iron cages. Today zoo animals, in at least the better zoos, wander in open spaces that resemble natural habitats and are enclosed, not by bars, but by moats, cliffs, and other landscape features. In Savages and Beasts, Nigel Rothfels traces the origins of the modern zoo to the efforts of the German animal entrepreneur Carl Hagenbeck. By the late nineteenth century, Hagenbeck had emerged as the world's undisputed leader in the capture and transport of exotic animals. His business included procuring and exhibiting indigenous peoples in highly profitable spectacles throughout Europe and training exotic animals—humanely, Hagenbeck advertised—for circuses around the world. When in 1907 the Hagenbeck Animal Park opened in a village near Hamburg, Germany, Hagenbeck brought together all his business interests in a revolutionary zoological park. He moved wild animals out of their cages and into "natural landscapes" alongside "primitive" peoples from Africa, Asia, the Americas, and the islands of the Pacific. Hagenbeck had invented a new way of imagining captivity: the animals and people on exhibit appeared to be living in the wilds of their native lands. By looking at Hagenbeck's multiple enterprises, Savages and Beasts demonstrates how seemingly enlightened ideas about the role of zoos and the nature of animal captivity developed within the essentially tawdry business of placing exotic creatures on public display. Rothfels provides both fascinating reading and much-needed historical perspective on the nature of our relationship with the animal kingdom.