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The Eighteenth Century Short Title Catalogue. 

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First and only microfiche edition of ESTC, subsequently expanded into the English Short-Title Catalogue and made obsolete by digitisation. 

Each microfiche sheet contains up to 416 pages and approximately 2500 entries.  In addition to the eighty-eight sheets of the catalogue, the set includes a fourteen-sheet index by date, a six-sheet index by place of publication, and further indexes for advertisements, almanacks, directories, prospectus, and songs. 

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PRESENTATION COPY HORACE; James TATE, editor. 

Horatius restitutus: or the books of Horace arranged in chronological order according to the scheme of Dr Bentley, from the text of his second edition in 1713, and the common readings subjoined; with a preliminary dissertation on the chronology and the localities of that poet … 

First edition of this attempt to arrange the books of Horace in chronological order by the classical scholar and master of Richmond School, James Tate (1771–1843), this copy presented by him to Thomas Gaisford (1779–1855), classicist, Dean of Christ Church Oxford, Regius Professor of Greek, curator of the Bodleian Library, and delegate of the Clarendon Press. 

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LARGE-PAPER COPY ARISTOTLE.

Αριστοτελους περι ποιητικης: Aristotelis de poetica liber ex versione Theodori Goulstoni. Lectionis varietatem e codd. IV. Bibliothecae Mediceae, verborum indicem et observationes suas adjunxit T. Winstanley…

Large-paper issue of the first Winstanley edition, handsomely bound. The first work published by the Oxford historian and classicist Thomas Winstanley (1749–1823), subsequently Camden Professor of History and Laudian Professor of Arabic, this edition of Aristotle’s De poetica was based on the 1623 version by the physician Theodore Goulston (1575–1632), and remained a much used text at Oxford over the following century. Aristotle’s notion of ‘mimesis’, the view that art imitates nature, prevailed for over two centuries over the conflicting theory that stressed the creativity of the poet. In the last third of the eighteenth century the debate about mimesis in literature, visual arts, and music became exceptionally productive, culminating in the Romantic revolution.

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