Project MUSE®: The Scriblerian and the Kit-Cats - Latest Articles
https://muse.jhu.edu/journal/567
Project MUSE®: Latest articles in The Scriblerian and the Kit-Cats.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 34 (2002-2003) through current issueLatest Articles: The Scriblerian and the Kit-CatsTWOProject MUSE®The Scriblerian and the Kit-Cats2165-06240190-731XLatest articles in The Scriblerian and the Kit-Cats. Feed provided by Project MUSE®Turning A New Corner?
https://muse.jhu.edu/article/977540
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Greetings Scriblerians and Kit-Cats. With this, I hail readers of the third issue of our journal under what might be called “new management.” We continue the tradition established by our editorial forebears while also reinvigorating this tradition with new features. First, thanks to Paul Baines for sharing his superb essay on Pope and the mysterious Mr. Barnivelt with The Scriblerian. Building upon and extending an earlier Scriblerian note (8.1, 1975) by David Nokes, Paul clinches the identity of a purported author of A Key to the Lock (1715). Additionally, 58.1 continues the talks/exhibitions section with an erudite take on the painter Maria Cosway, a lesser-known figure of our period, by seasoned connoisseur
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallTurning A New Corner?2025-12-11text/htmlen-USTurning A New Corner?2025-12-112025TWOProject MUSE®37252026-05-14T00:00:00-05:002025-12-11Who Was Esdras Barnivelt (Revisited)?
https://muse.jhu.edu/article/977541
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Pope’s Rape of the Lock was published as a separate item in its revised, five-canto form, in early March 1714, by Bernard Lintot. In late April 1715, a pamphlet appeared under the title: A Key to the Lock Or, a TREATISE proving, beyond all Contradiction, the dangerous Tendency of a late Poem, entituled, The Rape of the Lock. To Government and Religion. This bore the standard imprint of the trade publisher James Roberts, but there is documentary evidence to show that Lintot was behind this too, as of course was Pope.1 A second edition appeared May 31, complete with a raft of commendatory poems to enhance the jest. These were addressed to the putative author, “Esdras Barnivelt, Apoth.” Subsequent editions (a third
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallWho Was Esdras Barnivelt (Revisited)?2025-12-11text/htmlen-USWho Was Esdras Barnivelt (Revisited)?2025-12-112025TWOProject MUSE®241452026-05-14T00:00:00-05:002025-12-11Female Art and Celebrity in Late Georgian Theater
https://muse.jhu.edu/article/977542
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That the Welsh actress Sarah Kemble Siddons (1755–1831) was a remarkable performer who expanded the concept of celebrity is well established. Siddons herself ensured this by relentless attention to her name, role selections, and likenesses on and off the stage. She curated her career as a tragedienne and closely monitored her press coverage; she also worked with portraitists and sculptors. She even authorized early work on a biography by Thomas Campbell, published in 1834.Jo Willett, an award-winning British television producer, who also published a biography of Lady Mary Wortley Montague (2022), provides an engaging and readable account of Siddons’s life that is well-researched and executed in a confident, at
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallFemale Art and Celebrity in Late Georgian Theater2025-12-11text/htmlen-USFemale Art and Celebrity in Late Georgian Theater2025-12-112025TWOProject MUSE®147152026-05-14T00:00:00-05:002025-12-11The Threads of History
https://muse.jhu.edu/article/977543
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Costume history is pushing the boat out! Individually, these coffee-table stun-ners contribute to our understanding of Jane Austen, French revolutionary politics, or Georgian royalty by way of fashion trends in the long eighteenth century. While their local insights are already worth the price of individual admission, together these three history books demonstrate a public-facing, heady, cross-disciplinarity that pulls evidence as easily from sumptuary edicts and legal archives as from portraiture or personal correspondence. These scholars read hemlines and necklines as closely as others might parse lines of poetry. All three books are models of meticulous scholarship and make complex historical contexts
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallThe Threads of History2025-12-11text/htmlen-USThe Threads of History2025-12-112025TWOProject MUSE®77872026-05-14T00:00:00-05:002025-12-11Recent Articles
https://muse.jhu.edu/article/977544
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Davis, Paul. “A New Latin Poem by Joseph Addison.” RES 74, no. 315 (2023): 502–17.Hone, Joseph. “Pope’s Scrapes and Ghosts.” RES 75, no. 319 (2024): 198–208.These two essays demonstrate that even after three centuries we can still gain significant textual insights from manuscripts. In neither case were the manuscripts in question unknown, but both scholars have identified new relevance and details, and each presents a clear, engaging narrative about why these insights matter. RES also deserves recognition for publishing such useful and readable criticism and for including admirably clear supporting images.Joseph Hone focuses primarily on Alexander Pope’s manuscripts of the early poetry through Windsor Forest
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallRecent Articles2025-12-11text/htmlen-USRecent Articles2025-12-112025TWOProject MUSE®658572026-05-14T00:00:00-05:002025-12-11Women in Wartime: Theatrical Representations in the Long Eighteenth Century by Paula R. Backscheider (review)
https://muse.jhu.edu/article/977545
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Paula R. Backscheider’s Women in Wartime: Theatrical Representations in the Long Eighteenth Century is a remarkable survey of over one hundred years of theater history on the backdrop of one of “the most intense periods of British Wars” with the goal of highlighting the roles women played in building national consensus and models of patriotism. Examining the period from the 1670s to 1815, the author employs feminist, performance studies, and popular culture methods to draw a compelling history of wartime women’s dramatic characters by exploring a significant number of previously neglected plays— from tragedies to comedies to short theatrical forms (pantomimes, farces, interludes, entr’actes, masques). This is
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallWomen in Wartime: Theatrical Representations in the Long Eighteenth Century by Paula R. Backscheider (review)2025-12-11text/htmlen-USWomen in Wartime: Theatrical Representations in the Long Eighteenth Century by Paula R. Backscheider (review)2025-12-112025TWOProject MUSE®108022026-05-14T00:00:00-05:002025-12-11Creator of Nightmares: Henry Fuseli’s Art and Life by Christopher Baker (review)
https://muse.jhu.edu/article/977546
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Those who look for a first introduction to Fuseli (1741–1825)—or a second one, since his masterpiece, The Nightmare, first exhibited in 1782 and later repainted in three further versions and distributed in numberless prints, is so universally recognized—couldn’t do better that begin with this book by Christopher Baker, longtime editor of the Burlington Magazine.Born Johann Heinrich Füssli in Zurich, Füssli was intended by his painter father for the clergy: he took orders in 1721 but was forced to leave Switzerland when he and his college friend, Johann Kaspar Lavater (whose work on physiognomy he would later translate into English) exposed the malfeasance of a powerful politician. For the next ten years, he
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallCreator of Nightmares: Henry Fuseli’s Art and Life by Christopher Baker (review)2025-12-11text/htmlen-USCreator of Nightmares: Henry Fuseli’s Art and Life by Christopher Baker (review)2025-12-112025TWOProject MUSE®72132026-05-14T00:00:00-05:002025-12-11The Cambridge Companion to Gulliver’s Travels ed. by Daniel Cook and Nicholas Seager (review)
https://muse.jhu.edu/article/977547
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Gulliver’s Travels (GT) has joined the tiny number of individual literary works to have a dedicated Cambridge Companion, a sure recognition of the place Swift’s masterpiece holds internationally in literary curricula. Swiftians will, of course, think this entirely appropriate, if not slightly belated, especially given that the only other eighteenth-century work with a stand-alone Companion is Gulliver’s great rival, Robinson Crusoe, in a volume edited by John Richetti in 2018. The Cambridge Companion to Jonathan Swift (2000), edited by Christopher Fox, has proved an enduring collection of distinctive and much-cited essays, and the present collection promises to become the same. This is an excellent volume
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallThe Cambridge Companion to Gulliver’s Travels ed. by Daniel Cook and Nicholas Seager (review)2025-12-11text/htmlen-USThe Cambridge Companion to Gulliver’s Travels ed. by Daniel Cook and Nicholas Seager (review)2025-12-112025TWOProject MUSE®181362026-05-14T00:00:00-05:002025-12-11The Collected Poems of Henry Kirke White ed. by Tim Fulford (review)
https://muse.jhu.edu/article/977548
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Fulford’s Collected Poems is the only complete edition of White’s poems published in the last one hundred years and is likely to be the definitive edition of his poems for the next one hundred. The 366 poems included here are supplemented by forty pages of White’s prose, two appendices (they include Southey’s account of White’s life and his Preface to volume III of White’s Remains), an index of names, titles, and first lines, and Fulford’s sixty-three-page introduction followed by a brief description of copyright issues related to White’s poetry throughout the nineteenth century. Additional editorial apparatus includes notes clarifying person and place names and showing textual variants, as well as footnotes
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallThe Collected Poems of Henry Kirke White ed. by Tim Fulford (review)2025-12-11text/htmlen-USThe Collected Poems of Henry Kirke White ed. by Tim Fulford (review)2025-12-112025TWOProject MUSE®99402026-05-14T00:00:00-05:002025-12-11Early English Periodicals and Early Modern Social Media by Margaret J. M. Ezell (review)
https://muse.jhu.edu/article/977549
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This recent title in the Cambridge Elements series suggestively demonstrates both the benefits and limitations of this new, extremely condensed form of critical study. Ezell’s slim, ninety-two-page book on the late seventeenth-and eighteenth-century periodical and the “dynamic, participatory culture” it created (so similar, in many ways, to the commercially driven social media of today) is a quick, easily digestible, informative read, extremely useful in the classroom for the panoramic view it gives on an important literary genre. However, it is also a very abbreviated argument, at times lacking sufficient illustrative examples or a more in-depth, content-based analysis of some of the most important periodicals of
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallEarly English Periodicals and Early Modern Social Media by Margaret J. M. Ezell (review)2025-12-11text/htmlen-USEarly English Periodicals and Early Modern Social Media by Margaret J. M. Ezell (review)2025-12-112025TWOProject MUSE®104092026-05-14T00:00:00-05:002025-12-11Howard Weinbrot and the Precincts of Enlightenment: The Genius of Every Place ed. by Kevin L. Cope (review)
https://muse.jhu.edu/article/977550
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Howard Weinbrot’s first published article appeared in American Notes and Queries in 1964; his last, I believe, was his contribution to the Oxford Handbook of Samuel Johnson I edited, which appeared posthumously in 2022. In between he produced a volume of scholarship that calls for an adjective like stunning or jaw-dropping. Because it’s hard to concentrate through pages of small-type entries in the bibliography of his publications, I got a different number each time I counted, but I think it’s 109 articles and book chapters, on top of fifteen books (monographs, edited collections, anthologies), and another few dozen reviews and review essays. And of course, there were more conference papers than most of us have
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallHoward Weinbrot and the Precincts of Enlightenment: The Genius of Every Place ed. by Kevin L. Cope (review)2025-12-11text/htmlen-USHoward Weinbrot and the Precincts of Enlightenment: The Genius of Every Place ed. by Kevin L. Cope (review)2025-12-112025TWOProject MUSE®149522026-05-14T00:00:00-05:002025-12-11Paratext Printed with New English Plays, 1660–1700 by Robert D. Hume (review)
https://muse.jhu.edu/article/977551
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As every reader of The Scriblerian well knows, Robert D. Hume wrote vo-luminously on the English theater, and in so doing, changed our conception of how drama developed from the Restoration through the eighteenth century. Our basic understanding of this development had been based on a handful of plays, not necessarily representative, included in British Dramatists from Dryden to Sheridan, edited by George H. Nettleton, Arthur E. Case, and George Winchester Stone, first published in 1939, which became the standard teaching text right into the 1980s. Enter Hume. In order to get a more complete, and more accurate, understanding of the issue, he read all the plays, every one of them, from 1660 to 1800. This was in the
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallParatext Printed with New English Plays, 1660–1700 by Robert D. Hume (review)2025-12-11text/htmlen-USParatext Printed with New English Plays, 1660–1700 by Robert D. Hume (review)2025-12-112025TWOProject MUSE®169562026-05-14T00:00:00-05:002025-12-11Eighteenth-Century Illustration and Literary Material Culture: Richardson, Thomson, Defoe by Sandro Jung (review)
https://muse.jhu.edu/article/977552
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Cynics might synonymize “academe” with “inertia,” but it is not altogether inaccurate to regard the theories and ideologies that whisk through the ivy- covered halls as movements. Popular methods and approaches are always moving away from their origins. The inevitable first step in celebrating the literature and art of this or that marginalized group, for example, is leaving particular details behind and ascending into universalizing pronouncements about race, class, gender, capitalism, or colonialism, statements that could apply to almost any nation, tradition, or honorarium source. So it is that Eighteenth-Century Illustration and Literary Material Culture sheds its status as an ordinary book and blends into a
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallEighteenth-Century Illustration and Literary Material Culture: Richardson, Thomson, Defoe by Sandro Jung (review)2025-12-11text/htmlen-USEighteenth-Century Illustration and Literary Material Culture: Richardson, Thomson, Defoe by Sandro Jung (review)2025-12-112025TWOProject MUSE®135212026-05-14T00:00:00-05:002025-12-11Pen, Print and Communication in the Eighteenth Century ed. by Caroline Archer-Parré and Malcolm Dick (review)
https://muse.jhu.edu/article/977553
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This fourteen-chapter collection is drawn from presentations at the 2015 Bask-erville Society meeting, with additional chapters commissioned to expand the scope of the book. Its subjects extend from British handwriting and shorthand manuals to private communications and various forms of publications in Britain, North America, and Europe.As we might expect from a collection originating in a society celebrating John Baskerville, the famous Birmingham printer is a presiding genius in the text. We learn that he was not a professional printer but an accomplished amateur, which meant that the professional printers in Birmingham and elsewhere looked down on him. He was deeply committed to the “beauty of letters,” as the
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallPen, Print and Communication in the Eighteenth Century ed. by Caroline Archer-Parré and Malcolm Dick (review)2025-12-11text/htmlen-USPen, Print and Communication in the Eighteenth Century ed. by Caroline Archer-Parré and Malcolm Dick (review)2025-12-112025TWOProject MUSE®121672026-05-14T00:00:00-05:002025-12-11Jonathan Swift in Context ed. by Joseph Hone and Pat Rogers (review)
https://muse.jhu.edu/article/977554
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We need not go as far as Verses on the Death of Dr. Swift to realize that Swift cared about his public image and afterlife both as an author and human being. The latest attempt at a large-scale spotlight, or rather a multiplicity of spotlights, on his life and works is Jonathan Swift in Context, an impressive collection of forty-four essays by forty-two scholars. Anticipating the tercentenary of the publication of Gulliver’s Travels (GT) in 2026, as well as supplementing the ongoing Cambridge Edition of the Works of Jonathan Swift (2008–), the collection is an overdue addition to the CUP “in context” series, featuring writers from Chaucer to Proust, Borges, W. G. Sebald, and David Foster Wallace.The editors of the
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallJonathan Swift in Context ed. by Joseph Hone and Pat Rogers (review)2025-12-11text/htmlen-USJonathan Swift in Context ed. by Joseph Hone and Pat Rogers (review)2025-12-112025TWOProject MUSE®159202026-05-14T00:00:00-05:002025-12-11Swift Studies: The Annual of the Ehrenpreis Centre 38 ed. by Hermann J. Real (review)
https://muse.jhu.edu/article/977555
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Ever since its very first volume, published in 1986, Swift Studies has been a treasure trove for Swiftians looking for a periodical that reflects the Dean’s erudition and delight in idiosyncrasy. From the beginning, the volumes have combined critical investigations with notes, comment pieces, and the occasional poem translation. The scholarly articles cover a broad range of themes, including—but by no means limited to—in-depth readings of Swift’s writing, intertextual assessments, explorations of his impact on popular culture, and, of course, all things Swift and Ireland. Known as Prestophiles after the Dean’s pun on his own surname and self-description as a word-magician,1 the Swiftians in Münster offer scholarly
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallSwift Studies: The Annual of the Ehrenpreis Centre 38 ed. by Hermann J. Real (review)2025-12-11text/htmlen-USSwift Studies: The Annual of the Ehrenpreis Centre 38 ed. by Hermann J. Real (review)2025-12-112025TWOProject MUSE®148072026-05-14T00:00:00-05:002025-12-11Swift Studies: The Annual of the Ehrenpreis Centre 39 ed. by Kirsten Juhas and Hermann J. Real (review)
https://muse.jhu.edu/article/977556
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Single-author journals and annuals face the same problems that period-oriented journals (like the Scriblerian) and journals in general do, only more so. To increase or at least preserve readership they have expanded their areas of interest to include more authors and more avenues of approach than they had formerly. Fear not, Swift Studies remains firmly on the side of traditional historical scholarship about Jonathan Swift. When it strays from the reservation at all, it is into related areas like reception studies, bibliography, book and print history, political history, and so forth, and the current issue is a prime example. The reader will not find here essays along the lines of “Dean Swift and Faber College’s
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallSwift Studies: The Annual of the Ehrenpreis Centre 39 ed. by Kirsten Juhas and Hermann J. Real (review)2025-12-11text/htmlen-USSwift Studies: The Annual of the Ehrenpreis Centre 39 ed. by Kirsten Juhas and Hermann J. Real (review)2025-12-112025TWOProject MUSE®122702026-05-14T00:00:00-05:002025-12-11Literary Authority: An Eighteenth-Century Genealogy by Claude Willan (review)
https://muse.jhu.edu/article/977557
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Willan’s study offers an intriguing thesis: Alexander Pope and Samuel Johnson forged a new concept of literary authority, one assembled from the competing rhetorics of Whig nonfiction prose and Jacobite manuscript poetry. Earlier constructions of literary authority, which served the interests of dynastic monarchs, became obsolete with the “advent of elective monarchy and an increasingly powerful Parliament.” In their place, Pope and Johnson defined themselves as arbiters of good and bad writing and created understandings of literature that continue to influence readers today. Exposing their efforts, Willan hopes to free readers from Pope and Johnson’s self-fashioned identities.Willan begins his ambitious study with
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallLiterary Authority: An Eighteenth-Century Genealogy by Claude Willan (review)2025-12-11text/htmlen-USLiterary Authority: An Eighteenth-Century Genealogy by Claude Willan (review)2025-12-112025TWOProject MUSE®119412026-05-14T00:00:00-05:002025-12-11Death and the Body in the Eighteenth-Century Novel by Jolene Zigarovich (review)
https://muse.jhu.edu/article/977558
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Twentieth-century scholarship has largely convinced the world that the Dark Ages were not all that dark and that the Roman Empire did not so much fall as slowly crumble. On the other hand, the Enlightenment largely maintains its original significance as the period during which human reason illuminated corners of experience previously kept in the shadows by superstition, religion, and, worst of all, superstitious religion. Zigarovich largely accepts this view, despite including the mention of “multiple Enlightenments” pointed out by recent scholarship. She quotes here Phyllis Mack’s observation that “the current upsurge of religious belief and practice in many parts of the world has led contemporary scholars to
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallDeath and the Body in the Eighteenth-Century Novel by Jolene Zigarovich (review)2025-12-11text/htmlen-USDeath and the Body in the Eighteenth-Century Novel by Jolene Zigarovich (review)2025-12-112025TWOProject MUSE®130992026-05-14T00:00:00-05:002025-12-11Maria Cosway in Corsica
https://muse.jhu.edu/article/977559
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Fifty years ago, the art historian Linda Nochlin issued a clarion call for new scholarship on women in the arts. “Why have there been no great women artists?,” she asked in a groundbreaking article by that name. Invoking John Stuart Mill on the subjection of women, she pointed to the longstanding double standard denying women professional training and then criticizing their inferiority as mere amateurs. In response, the last half-century has seen dozens of women artists, once lost to misattribution and neglect, find eminent places in the canon. During the 1990s, for example, Judith Leyster was shown to be no follower of Frans Hals, and Artemisia Gentileschi to be much more than the female Caravaggio. Among
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallMaria Cosway in Corsica2025-12-11text/htmlen-USMaria Cosway in Corsica2025-12-112025TWOProject MUSE®170742026-05-14T00:00:00-05:002025-12-11Scholia
https://muse.jhu.edu/article/977560
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I have known Tom since 2015, when we met at Pembroke College, Oxford University, for the commemorative conference on Shakespeare and Johnson. Later, he stayed at my Maryland apartment when we both attended the EC/ASECS meeting at Howard University. Subsequently, he invited me to stay in his home when we attended the annual gathering of The Johnsonians in 2023. It was his second (and sadly last) attendance; the first was fifty years before when he was the guest of his dissertation director, W. Jackson Bate. That was the last time I saw Tom. He passed away a year and a half later, due to complications of pancreatic cancer. It was a dark day in November 2024 when Tom called me to convey the grim prognosis. For some
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallScholia2025-12-11text/htmlen-USScholia2025-12-112025TWOProject MUSE®164712026-05-14T00:00:00-05:002025-12-11Two From Chicago
https://muse.jhu.edu/article/977561
<p></p>
“Who now reads Spencer [sic]—Chaucer—Ben Johnson [sic]—Davenant—Glover— Marvell—Daniel—Cartwright— Hurdis—Chamberlayne—Sir Philip Sydney—Sir John Suckling?—few, very few!” So wrote David Hoffman in his 1841 Viator: Or, A Peep Into My Note Book. His presumption goes too far when he exclaims, “Who now reads the Rambler?—not one in ten thousand!”Who now reads Hoffman? Perhaps one in eight billion? His rhetorical question, however, occupies the status of a topos, popping up in Eliot’s Middlemarch, Burke’s Reflections, and even Alexander Pope, in his Horatian query, “Who now reads Cowley?” (Perhaps not many, but he is an acquired taste presently attracting a wider scholarly audience. Watch The Scriblerian for future
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallTwo From Chicago2025-12-11text/htmlen-USTwo From Chicago2025-12-112025TWOProject MUSE®68982026-05-14T00:00:00-05:002025-12-11Books and Manuscripts, Late 2024, Part 1
https://muse.jhu.edu/article/977562
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Let us begin with manuscripts. The Museum of the American Revolution in Philadelphia received as a donation from Nanette Reid Osborne of Greensboro, North Carolina, and her brother Dr. Robert Kent Reid of Las Vegas the pocket almanac for 1777 and papers of their ancestor Samuel Gerock, an officer from Baltimore in a German regiment within the Revolutionary Army. The papers, preserved in a wallet made of a wartime drumhead, offer firsthand accounts of battles in 1777 in New Jersey (Second Battle of Trenton, Battle of Princeton, and Battle of Spanktown), including sketches of battle formations, and insights into life and politics within the struggling army. The materials’ value was discovered when displayed on
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/567/image/coversmallBooks and Manuscripts, Late 2024, Part 12025-12-11text/htmlen-USBooks and Manuscripts, Late 2024, Part 12025-12-112025TWOProject MUSE®224822026-05-14T00:00:00-05:002025-12-11