W I S D E N ' S S E C R E T
O V E R V I E W
Wisdens's secret was initially a blog based upon a manuscript written in 1863 and from which I can prove quite conclusively that this manuscript is in part at least "the original source manuscript" to the 1st edition of Wisden's Almanack 1864. Below is an illustration of the results table page for the University Rowing Matches in the manuscript written in 1863. This page is obviously the original source for the page in Wisden's Almanack first edition 1864 of the page containing the University Rowing Matches also illustrated below. Precise explanation see contents April Diary
It became expanded considerably once I realised the strong possibility that the father of the author of the manuscript alluded to above might very well be the "original" Mr. Darcy from Pride and Prejudice and much more besides.
It then went on to include the uploading (in progress) of a quite brutal manuscript account of life as an R.A.F. P. o.W. from December 1944 under E.LA.S the Greek communist party.
The discovery of a totally unknown collection of 40 very finely coloured aquatints to illustrate the works of Lord Byron published in 1829.
The discovery of a unique etching dated 1653 which looks like the an unknown work by Rembrandt.
See below for a few further brief details
This manuscript upon initial examination provides a midpoint between the Rowing Almanacks of 1863 and 1864 and the first edition of Wisden's Almanack of 1864 that is difficult to dispute.
Proof of copying by Wisden however, (ie. beyond reasonable doubt) is shown by the last three race timings.
In Wisden 1864 the last three race timings are exactly the same as the last three race timings in the manuscript, and all three are are different to the race timings in the Rowing Almanack .s of 1863 and 1864 from which this table so bviously derives. The odds against Wisden making exactly the same race timing mistakes independently, are astronomical. These odds increase when the close connections between the two men become revealed
A more detailed explanation of this proof with supporting illustrations can be found by clicking the Content page. It appears in the section "First and Second Proof Beyond Reasonable Doubt..."
The illustration to the left is the page from the 1st edition of Wisden 1864 showing the University Rowing Matches. (Published with the permission of Neil Robinson Lords Library)
Both these illustrations have as their source the University Rowing Match page from Rowing Almanack of 1863 and 1864. An illustration of this page is to be found in Wisden/s Secret Part 2 "First and Second Proof"
The author of the manuscript above was a former rower with Magdalene College
There are 2 articles regarding this manuscript both written by Jon Hotten
One appears in "Wisden 2021" and the other in the June edition of "The Nightwatchman " 2021
The real (?) life identity of Mr. Darcy, The real (?) life location of Thornton Lacey. The real (?) life location of Northanger Abbey and mention must be made of the extraordinary discovery of Easter Eggs (ie. hidden treasures in the form of anagram word puzzles within Jane Austen's writings that have lain undisturbed for over 200 years) If you enjoy solving cryptic anagrams in crossword puzzles, there are some to be found in the introduction for you to attempt to solve. Also discovered are are a good number of fresh very cleverly hidden puns ( until 2017 only 1 was known) and then there are the "Easter Eggs" utilizing numbers. I have also found (August 2022) a link between the family of Jane Austen and the man I think was Mr. Darcy. Or how Jane Austen links to the U.K. royal family. Finally in early April 2021 I uncovered a quite brilliant origin for the source of the name Pemberley
Perhaps I should not say so myself but I think that what I have found is absolutely extraordinary.
The Unknown Jane Austen Hidden In Plain Sight
Some Extraordinary Secrets
Is this portrait (current whereabouts unknown) painted 1790 by Ludwig Gruttenbrun in Paris a portrait of the man who was "The Real Mr. Darcy "
Painted when the sitter was 18/19 years old.
Does he look like a man who 5 or 6 years later could be described as haughty, reserved, fastidious with manners well bred but not inviting.
This is how Jane Austen describes Mr. Darcy towards the end of Book 1 Chapter 4
A unique, recently discovered etching
This image is a unique etching with drypoint and dated 1653 .The image here has been enlarged in order to see the true creative complexity of this etching further enlargement is necessary. Its actual size is 160mm by 130mm.
I have spent time without success attempting to find another example. The closest I have come is an image of the same man by another etcher G.F.Schmidt entitled The Bartige Orientale The Bearded Oriental. No expert that I have so far consulted has seen another example of my etching. I believe with good reason therefore this etching to be unique. If anyone knows of another example, (not a reproduction), of this actual etching I would like to know because I am pretty sure there isn't one.
Below is a much enlarged image. Within the image is an enlarged section of the man's left eye
Far superior images of the print shown in small sections that can be magnified to see the fineness in detail are to be found on the Rembrandt Etching page
Lord Byron / John Martin
40 Virtually Unknown Coloured Aquatints
An example of one of the 40 delicately coloured unsigned aquatints published by Pyall and Stroud 16 Russell Street Covent Garden size 110mm by 8omm. Created to illustrate the works of Lord Byron. Although unsigned, to those who know the work of John Martin, visionary artist, these 40 aquatints have all the iconographic hallmarks one expects to see in Martin's work.
For a more complete appreciation it is useful to read the verse that accompanies each illustration.
In the bound volume of 40 aquatints is a slightly different example. Firstly It has been published "for the proprietor by T. Gillard " rather than by Pyall and Stroud. Secondly in the top right hand corner of this example is the number 50. Clearly an intention to produce a set of 5o aquatints revised for some reason to 40. This number has been erased in the Gillard example. Thirdly are subtle differences in colouring most noticeably in the dome and arches close beside , but elsewhere if one looks carefully.
N.B. The image has been photographically cropped to just outside the plate mark.