No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
Lawrence Trevelyan Weaver is a paediatrician, nutritional scientist and gastroenterologist whose interests have turned to history. Now Emeritus Professor of Child Health and Honorary Senior Research Fellow in the Centre for the History of Medicine of the University of Glasgow, he spent much of his professional life thinking about human milk, caring for babies with feeding problems, and researching the gut disorders caused by what they were fed.
White Blood is a history of human milk and tells the story of how babies have been fed from antiquity to modern times and why it matters. 'Breast is Best' is the popular mantra, but there is a perennial debate about the pros and cons of 'breast and bottle'. White Blood explores this vital question, which has implications for the health and wellbeing of mothers, their young, families, communities and even countries. Starting in Ancient Greece and Rome, where human milk was thought to be blood diverted from the womb to the breast and there whitened and vivified, it lets the voices of those concerned with the care of newborn infants, and those who followed them, speak across the centuries of how they were, and should best be, nourished.
At the end of the eighteenth century novel methods of breeding generated new farm and sporting animals with striking appearances and improbable dimensions. Thomas Weaver was one of a small group of artists who pioneered paintings of such livestock during the Agricultural Revolution. His career took him from picturing the ponies and mares of the local gentry, to painting portraits of prize farm animals and thoroughbred stallions for the foremost agricultural improvers of Georgian England. Weaver painted pedigree sheep for the 'great patron of agriculture', Coke of Norfolk, and the celebrated Durham Ox, bred by the Colling brothers. His pictures achieve accurate likenesses softened by humour, charm and luminous skies, and aspiring in mid-career to be a fine artist, he depicted horses in the pastoral and romantic styles of George Stubbs and Theodore Gericault. His fortunes rose and fell with the fashions and passions for new breeds and country pursuits, and as engravings became widely available, his paintings became popular subjects for prints Based on a unique and hitherto unexamined collection of Thomas Weaver's papers and pictures, including personal and professional correspondence, contemporary newspaper cuttings and verse, fragments of his diary and portraits of his family, Painter of Pedigree brings life to the working career of an animal artist in the age of agricultural improvement. It is illustrated with many of his paintings and prints, which now hang in English country houses, museums, art galleries and private collections.