Military ABC Book, 19th C

'Armée Française : Nouvel Alphabet Militaire'

Text by Pierre Léon Vanier

Illustrations by Henri de Sta

This 1880s book - obviously aimed at young people - offers satirical portrayals of various branches and uniforms of the French military and each chromolithograph is accompanied by a page of descriptive text.

A is for Artillery

B is for Brigadier

C is for Cuirassier

D is for Dragoon

-...let the images grow at this time as the scroll passed my links on right hand side :)

G is for Gendarme

J is for Justice and Order

K is for Képi

O is for Officer

Q is for Quartier Maitre (A marine)

R is for Reservist

V is for Vaguemestre (Military Postmaster)

X is for X. Polytechnicien 

[graduate of École polytechnique (aka: X), a higher ed facility near Paris]

Y is for (?) Commander of supply lines (road or rail trains)

Z is for Zouave

French illustrator Henri de Sta was born in Versailles as Arsène Henri Saint-Alary. He began his career around 1882 with La Vie Artistique and the publishing house of Léon Vanier. Coming from a family of militaries, garrison life became a regular theme in his career. De Sta worked as a humorous illustrator for Le Chat Noir since 1892. He was also present in Le Paris Bouffon (1885), Le Rire (1897) and Le Charivari (1900). He composed military alphabets, illustrated songs and produced comics for La Chronique Amusante from 1896, and for Les Contes Moraux et Merveilleux of the printing firm Pellerin d'Epinal."

• 'Armée Française : Nouvel Alphabet Militaire' 1883 is available among les Abécédaires de Gallica.
• Henri de Sta Wikipedia
• H de Sta at nouvellesuzette
• Vanier, Léon (bio) (F)
• Nouvel alphabet militaire par Léon Vanier et H. De Sta. Remarquable! (F)
• via Marine Planche (F)

The Telleriano-Remensis codex, 17th C

The Codex Telleriano-Remensis, produced in sixteenth century Mexico and printed on European paper, is one of the finest surviving examples of Aztec manuscript painting. Its Latinized name comes from Charles-Maurice Le Tellier, archbishop of Reims, who had possession of the manuscript in the late 17th century. 

The Codex Telleriano-Remensis is divided into three sections. The first section, spanning the first seven pages, describes the 365-day solar calendar, called the xiuhpohualli. (link provided to the aztec calendar, well explained BUT in spanish)

 

The second section, spanning pages 8 to 24, is a tonalamatl, ("the art of counting days") describing the 260-day tonalpohualli calendar. 

The third section is a history, itself divided into two sections which differ stylistically. Pages 25 to 28 are an account of migrations during the 12th and 13th centuries, while the remaining pages of the codex record historical events, such as the ascensions and deaths of rulers, battles, earthquakes, and eclipses, from the 14th century to the 16th century, including events of early Colonial Mexico.

 

Aramco Handbook (20th C) Saudi Geological Maps

This geographical map of Saudi Arabia, from the surprisingly informative Aramco Handbook, could only have been done in the 1960s. The map colors owe more to the Sgt. Peppers cover or Glaser’s Dylan poster than to the efforts of National Geographic or the ETH. And the Handbook’s geological maps are even better, see below :)

The Arabian peninsula consists of two distinctly different geological regions. The western half of the peninsula (and extending into eastern Africa) is an ancient land mass or shield consisting of mostly igneous and metamorphic Precambrian rock. The eastern half of the peninsula is made up of mostly sedimentary limestone rock deposited in layers by expanding and receding ancient seas. These sedimentary layers were then gently folded by tectonic pressure from the east that resulted in the formation of the Zagros Mountains in Iran and Iraq.

The point of Saudi geology is, of course, oil. It is in these sedimentary folds (known by geologists as anticlines) that virtually all Saudi oil reserves are located. Ghawar field for example, rests on an anticline above a basement rock fault with an oil producing layer of late Jurassic Arab-D limestone about 280 feet thick and ~ 6,500 feet beneath the surface.

The Ghawar complex, at 174 × 16 miles (1.3 million acres) in size, is by far the largest conventional oil field in the world. Since its discovery in 1948 it has yielded more than 60 billion bbls. Currently it is estimated to produce 5 million bbl/day, which accounts for around 60% of the total Saudi output or more than 6% of the worlds output.

Sources for this post::

1. Aramco Handbook: Oil and the Middle East. Dhahran, Saudi Arabia. Arabian American Oil Company. 1968.

2. Petroleum Navigator at the DOE Energy Information Administration site.

Notes of interest, 

The actual output and reserves are unknown because Saudi Aramco, the nationalized oil company, does not release production data. It has, however, been suggested by outside sources that production at Ghawar peaked in 2005. 

The five largest sources of oil for the US are: the US itself (5.1 million bbl/day, 34%), Canada (2.4 mbbl), Mexico (1.5 mbbl), Saudi Arabia (1.4 mbbl), Venezuela (1.3 mbbl), and Nigeria (1.1 mbbl). So the Ghawar field alone accounts for around 4.6% of US oil requirements. 

For a complete list of US oil imports see the Petroleum Navigator at the DOE Energy Information Administration site.

Le costume historique, 19th C

Auguste Racinet, from Le costume historique (The costume history) vol. 6, Paris, 1888.

Female costume of Normandy.
Auguste Racinet, from Le costume historique (The costume history) vol. 6, Paris, 1888.

France, 19th century — traditional costumes from Nivernais, Dauphiné, former county of Nice, Mâconnais, Bresse and Bourbonnais.

France, 18th-19th century — shawls.

France, 18th century — Headdress and bodice.

Originally published in France between 1876 and 1888, Auguste Racinet's Le Costume Historique was the most wide-ranging and intelligent study of clothing ever published. Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work -- ""consolidated"" in 1888 into 6 volumes containing nearly 500 plates -- remains, to this day, completely unique in its scope and detail. 

Racinet's organization by culture and subject has been preserved in TASCHEN's magnificent and complete reprint, as have excerpts from his delightful descriptions and often witty comments. Perusing these beautifully detailed and exquisitely colored illustrations, you'll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th century French women's couture. Though Racinet's study spans the globe from ancient times through his own,

Tabulae Anatomicae, Casserius 16th C.

Here is a copperplate engraving from De formato foetu liber singularis, commissioned by the Paduan anatomist Casserius. It shows a classic renaissance Venus filleted lotus-like to reveal her child. The plate, as well as some 95 others, represent the high point of Paudan/Venetian anatomical illustration and were published in three separate titles after Casserius’ untimely death. 

Julius Casserius (AKA Giulio Caeesrio, Giulius Casseri, or Casserii Placentini) was born ca.1556 or ca.1561 in Piancenza, Italy. Casserius’ father died when he was young and, being nearly destitute, he entered the houshold of the noted Paduan Anatomist, Girolamo Fabrizi d’Acquapendente (AKA Fabricus). After showing extraordinary initiative, the master took it on himself to teach Casserius anatomy. Casserius went from family servant to auditor to surgical disciple.

Casserius enrolled in the Università Artista and studied under both Fabricus and Gerolamo Mercuriale (Mercurialis). After his graduation, ca.1580, he acted as Fabricus’ preprator, university surgical examiner, as well as a physician and surgeon.

But there would soon be trouble in Padua. In 1595 Casserius became a substitute for Fabricus and his lectures were a bit too enthusiastically received for Fabricus’ taste. The old master, enraged with jealousy, banned Casserius from giving private lectures through an old statutory rule. According to the records it would be nearly eight years until Casserius lectured again.

During this time Casserius began to publish his first works on anatomy: De vocis auditusque organis Historia anatomica was published in 1601 and Pentaestheion in 1609. After these books he began writing the text and compiling the drawings for a comprehensive atlas of anatomy.

Back to the rivalry: In 1613, after 50 years of public lectureship, Fabricus was permitted to scale back his teaching, and his replacement, against his wishes was, of course, Casserius. In 1616 Casserius began his first and only public anatomy lecture. Shortly after the three week course he caught a fever and died on 8 Mar 1613. His master and nemesis, Fabricus, would survive him by three years.

After Casserius’ death his commissioned plates, via his heirs, ended up with Adriaan van der Spieghel (Spigelius), who had succeeded both Casserius and Fabricus as professor of Anatomy and Surgery. Spigelius intended to use the plates in his own anatomy atlas, but died an untimely death in 1625.

Here is where all the bibliographic fun begins. After Spigelius’ death, his son in law, Liberale Crema, edited one of his manuscripts and illustrated it with nine of Casserius’ plates. The book, De formato foetu liber singularis, published in 1626, was perhaps the first OB-Gyn classic. A year later, Jan Rindfleisch (AKA Bucretius) edited Spigelus’ unfinished altas and illustrated it with Casserius’ plates. In 1627 he also published 95 of the plates with his own annotations, as Tabulae Anatomicae. Some time later the Tabulae and De formato foetu were published as a single volume.

Here are some plates that appeared in both Spigelius’ Fabrica and Casserius’Tabulae:

 

 

 

 

 

 

 

Since Vesalius’ de Fabrica, the Paduan anatomists relied on the artists of Venice and Casserius was no exception. His plates were drawn by the Venetian painter and print-maker Odoardo Fialetti (AKA Edoardus Fialettus), who studied under Tintoretto, and the engravings were prepared by Francesco Valesio (Franciscus Vallesius).

If Vesalius’ illustrations were the model for the woodblock then Casserius’ illustrations were the model for copperplate. It would be nearly 80 years before better anatomical illustrations were published and Casserius’ work would be plagiarized well into the 18th century.

Here are few more plates from De formato foetu:

 

 

Venetie, 15th C.

Virtually nothing is known about the early life of Jacopo de’ Barbari. He may have been born as early as 1450 or as late as 1470, probably in Venice but possibly in Nuremburg. He may have studied under the Italian painter Alvise Vivarini, or maybe not. The first thing we know for certain is that he met Albrecht Dürer during Dürer’s Wanderjahre in 1495.

Not much more is known about Anton Kolb. He was a merchant from Nuremburg who ended up in Venice as a member of the Fondaco dei Tedeschi (Guild of German Merchants), where, according to later records, he was trying to sell Latin copies of Schedel’s Weltchronik.

Sometime around 1497 Kolb approached Barbari with a proposal to prepare a large-scale bird’s-eye view of Venice. The result – the Venetie M.D. or Pianta di Venezia or Plan of Venice – simply had no precedent in the history of cartography or printmaking. It was also, somewhat suprisingly, Barbari’s first attributed work.

Kolb never stated exactly how Barbari composed the view, but as Juergen Schultz points out in his classic analysis, it must have been prepared from dozens, perhaps hundreds of bell tower sightings:

“... Jacapo’s view is neither a giant landscape drawing made in the field, nor a carefully compiled, foreshortened plan, it can only be a studio fabrication. It must have been assembled mosaic-fashion at the drawing table from a myriad of small view details made from heights throughout the city.” ²

The final plan, which took Barbari at least two years to complete, shows the city from a vantage point somewhere above San Giorgio Maggiore. It sweeps outward and upward in a great curve to the horizon – a perspective that was designed to be best viewed horizontally, perhaps unrolled across a great table.

Every step in the map’s production was unprecedented. Kolb obtained six of the largest (as large as 684 × 1000 mm) fine-grained woodblocks ever prepared. Barbari traced his plan on them and they were then cut by master engravers in Venice or Nuremburg. The final printing required six sheets of specially commissioned paper twice the size of an imperial folio, then the largest sheets produced by any Venetian paper maker. The result was a monstrous 1.3 × 2.8 m (or nearly 13 ft²) map. Kolb’s capital outlay for the project must have been enormous.

Kolb stated that he was issuing his map “principally for the fama (glory) of this illustrious city of Venice” and in Oct 1500 he appealed to the Venetian government for a copyright as well as the right to recoup his costs by selling the print for the shocking price of three ducats.³ The Collegio must have known the nature of the map well in advance; although it wasn’t cartographically rigorous by modern standards, it was still accurate enough to aid an invading army. Perhaps out of civic pride – after all the city was at the height of it’s imperial power – they gave him a four-year copyright and a tax-free export license:

College. Notatorio, register 15, c. 28r. 30 Oct 1500.

Although Barberi played fast-and-loose with cartographic conventions like perspective and scale he, nevertheless, included an amount of detail that would literally take years of close reading to fully appreciate. He included several hundred place names, several thousand buildings and, as one commenter wrote, tens of thousands of windows and chimney pots. As the major sea power of the day he, of course, included every imaginable type of Venetian ship – from the ever-present gondolas to the Doge’s 1462 Bucintoro. He even went so far as to include – perhaps as a cautionary tale – the former Senate Secretary Antonio Landi, hanging by his neck in Canal de San Secondo. It was a stunning achievement and the largest woodblock image for more than a century.

Detail, St. Mark’s Square

Detail, Rialto Bridge

Close detail, Santa Maria dei Frari Monastary

Close detail, Ghetto Nuvo (the Jewish Ghetto)

Detail, Murano

By the time the plan was offered for sale in the autumn of 1500 Barbari had already moved to Nuremburg to work as a portrait painter and miniaturist for Emperor Maximillian I. In 1503 he was reported in Wittenburg working for the Great Duke Frederick of Saxony. In 1504 he again met Dürer where they apparently discussed drawing human proportion. By Mar of 1510 he was in the employ of Archduchess Margaret in Brussels. In Jan 1511 he became ill and in Mar of the same year, the Archduchess gave him a pension for life on account of his age and weakness. He died sometime around 1516.

The plan was reprinted, with minor corrections and updates in 1514 (the example presented here) and again in the late 16th century.

Detail, NE wind putti. The bearded figure may be Barbari’s self-portrait

1. Unless otherwise noted, all the images here are from the ca.1514 second-state copy at the Harry Ransom Center, University of Texas at Austin (online).

2. Schulz, Juergen. Jacopo de’ Barbari’s View of Venice: Map Making, City Views, and Moralized Geography before the Year 1500. The Art Bulletin. 1978 Sep; 60(3): 425–474 (Jstor). For another analysis see: Howard, Deborah. Venice as a Dolphin: Further Investigations into Jacopo de’ Barbari’s View. Artibus et Historiae. 1997 18(35): 101–111 (Jstor).

3. The orignal woodblocks (as well as three of the first-state maps) are now in the collection of the Museo Correr. They were last used to print sheets of the plan in the 1830s.

Daniel Defoe inspiration (18th C)

Where did Robinson Crusoe come from? How did Defoe—who held a number of interesting professions, including a trader, writer, and spy—harness the elements of the story and mold them into this classic English novel? Theories abound on the origins of the novel and the source material Defoe had at his disposal. Even today, nearly 300 years after its initial publication, academics and scholars still quibble over the search for the real Robinson Crusoe and the story behind the story.  
 

Theory #1: Alexander Selkirk

A Scottish sailor and notorious hothead, Alexander Selkirk’s story was long-held to be the inspiration for Defoe’s Crusoe. Selkirk worked as a naval officer aboard the Cinque Ports under Captain Thomas Stradling. In September 1704 after expressing doubts about the ship's seaworthiness, Selkirk was marooned on the Juan Fernandez Islands off the coast of Chile. Selkirk lived on the desert island before being rescued in 1709 and receiving a hero’s welcome upon his return home. Word of his story spread throughout Europe, particularly in England, Defoe’s home turf.
 

Selkirk reading his Bible in one of two huts that he built on a mountainside

Some scholars argue the timeline of Selkirk’s story would not allow it to be the inspiration for Robinson Crusoe, which was published in 1719 and completed a good amount of time prior. But others argue Selkirk’s exploits had a direct impact on Crusoe and choices Defoe made in composing the story.

The rescued Selkirk, seated at right, being taken aboard Duke.

Theory #2: Ibn Tufail’s Hayy ibn Yaqdhan

A tongue-twister though it may be, Hayy ibn Yaqdhan was a 12th Century philosophical novel by Ibn Tufail, an Arabic writer, philosopher, physician, and court official. Loosely translated as Philosophus Autodidactus, the novel explores the themes and ideas of a feral child raised by animals on a desert island. Initially conceived as something of a thought-experiment, the novel is concerned with what happens to human beings in the absence of other human beings, and how curiosity and the pursuit of answers and truth are innate human qualities.

As with the Selkirk theory, some scholars argue the central conceit of Tufail’s text was an important influence on Defoe’s novel, while others contend it’s the themes and ideas of Tufail’s work that Defoe took as a source of inspiration.

Theory #3: Robert Knox

Its direct influence on Crusoe notwithstanding, the story of English sea captain Robert Knox and his nearly two decades-long tenure on an island near what is today Sri Lanka is one of the most compelling true-life action-adventures stories ever. Knox set sail for Persia on behalf of the British East India Company in January 1658, but his ship was severely damaged during a storm about one year later, and he and his crew were taken captive and held for 19 years by the inhabitants of the Island of Ceylon. Though held in relatively livable conditions—Knox and his crew were given jobs and responsibilities in the village in exchange for lodging, food, and other provisions—Knox finally escaped and fled to a nearby island controlled by the Dutch before being returned home to England.

Accounts of his time on Ceylon were published in a 1681 book called An Historical Relation of the Island Ceylon, (link to the book provided, thanks to archive.org) a text that featured detailed illustrations and descriptions of the island and its inhabitants and which served as the only recorded information about the island during that age. Until recently, the story of Knox, his captivity, and eventual escape was thought to be the most direct influence on the story of Crusoe.

Theory #4: Henry Pitman

Stemming from intensive research and investigation as detailed in the 2002 Tim Severin book Seeking Robinson Crusoe, a growing number of literary scholars and historians now believe Defoe’s Robinson Crusoe was written in response to the story of Henry Pitman, a former surgeon to the Duke of Monmouth, who was stranded on a desert island in the Caribbean following a shipwreck. Upon his escape from the island and return home, Pitman’s story was published by English publisher J. Taylor of Paternoster Street—Taylor’s son would later publish Defoe’s masterwork, Robinson Crusoe.

In addition, Severin’s research uncovered Pitman lived in an apartment above Taylor’s publishing house, which Severin argues is fertile ground for a meeting between Pitman and Defoe. While word of Pitman’s exploits did circulate through England, Severin contends several face-to-face meetings between Pitman and Defoe may have taken place in which Pitman may have recounted his story to Defoe, who then interwove bits and pieces of Pitman’s experience into his own narrative.

Curia Filipica (Spaniard text as origin of US Commercial laws), 17th C

for Yale University experts/jurists/alumns: Juan de Hevia Bolaños WAS the author of this relevant treatise for US :: no questions about this

Curia filipica by the Asturian Juan de Hevia Bolaños was for over two centuries the essential handbook for legal procedure in Spain and in its New World colonies. Since its first printing in Lima, Peru, in 1603, the Curia filipica (and)  enjoyed an extraordinary success, appearing in 40 different editions, until its final publication in Paris, 1864. 

Editions of the Curia filipica were present in virtually any collection of law books in Spain’s colonies. It was owned and consulted not only by lawyers and judges, but also by a wide range of local officials with legal responsibilities, including city officials, garrison commanders, priests, and merchants. It was one of the first law books present in modern-day Texas, listed in the 1800 will of a military chaplain in San Antonio, then a Spanish frontier outpost. It is cited in over a dozen early cases in Louisiana, Texas, and the U.S. Supreme Court, as an authoritative source on Spanish procedure.

The “second part” is another work by Hevia Bolaños that was originally published separately, Labyrintho de comercio terrestre y naval, which was for decades the only available work in print on Spanish commercial law. Begining in 1644 it was published as the second part of the Curia filipica.

Juan de Hevia Bolaños was born in Oviedo, Spain around 1570, and came to the New World in 1594, spending several years working as court official in Quito before moving to Lima. 

The Curia filipica - a Spaniard text- is an indispensible source for study of the early legal history of the U.S.

Contents and printing license for part 1 of Juan de Hevia Bolaños, Curia filipica, primera y segunda parte (Madrid, 1700).

The Gift of King Charles III of Spain...

... (to James Harris, later First Earl of Malmesbury)

Juan de Iriarte y Cisneros (1702-1771) was able to complete only one substantial volume of his bibliography of Greek manuscripts in the Spanish Royal Library in Madrid. When curator Bruce Swann decided to transfer the Classics Library’s copy of Regiae bibliothecae Matritensis codices Graeci mss. (Madrid, 1769) to the Rare Book & Manuscript Library, he noticed a Latin inscription on the fly-leaf (see image below).

Translated, the inscription reads:

James Harris
Salisbury, 1771
My son gave this scholarly catalogue of manuscripts to me as a gift upon his return following an absence of three years abroad. Moreover, Charles III, the Catholic king, a noted promoter and patron of the arts and literature, gave it to him while he was employed at the embassy in Madrid in 1771.

James Harris (1709-1780) was an important English scholar and politician, the author of a number of works on grammar, music and criticism, copies of which may be found in the Rare Book & Manuscript Library. He was a great acquaintance of Georg Frideric Handel, many of whose operatic manuscripts he came to possess. In 1760 he was elected member of parliament for Christchurch, Hampshire, he later served as a commissioner of the Admiralty and of the Treasury, and from 1774 was the secretary of Queen Charlotte.

                  

One of the younger Harris’s first postings was in Spain, where he was instrumental in averting a war over the Falkland Islands, and where he received this book as a gift from King Charles III. Young Harris recorded the following impressions of the Spanish monarch:

“He has a most clear head, comprehends with great alacrity, and answers with unparalleled accuracy. His heart, also, is excellent; the best of fathers and of masters, and although despotic, yet never a tyrant. … Such are his good qualities; his faults are, a false idea of the glory and power of his monarchy; a temper, when once irritated, irreconcileable; a bland submission to whatever happens, which, whether it is to himself or others, he calls the will of Providence; and such a determined attachment to his favourite amusement, the chace [i.e., hunting], as to make him slothful and negligent in his more important avocations” (Diaries and correspondence of James Harris, first Earl of Malmesbury. London, 1844, I, 50-51)

The younger Harris could be sure his father would be interested in this sumptuous catalog of Greek manuscripts. While in Spain, he also helped further his father’s researches in other ways:

“It having often been asserted, that an entire and complete copy of Livy was extant in the Escurial library, I requested my son in the year 1771, (he being at that timeminister plenipotentiary to the court of Madrid,) to inquire for me, what manuscripts of that author were there to be found” (The works of James Harris, Esq. London, 1841, p. 544).

Regiae bibliothecae Matritensis codices Graeci mss. (Q.A.481.75 M26r) may now be consulted in the Rare Book & Manuscript Library.

First use of π as 3,14... (18th C)

 

Humans have long known that a special relationship exists between the diameter and circumference of a circle. As early as 2000 BCE, some had even found numbers to represent this relationship. By this date, the Babylonians knew that the circumference of a circle was always approximately 3 1/8 times larger than its diameter, while the Egyptians put the value at 4(8/9)2

Hindu astronomy books known as the Siddhantas tell us that by 380 CE the Hindus had arrived at 3 177/1250, or 3.1416, as a constant value for the circumference/diameter ratio, and in the fifth century CE Chinese mathematicians determined that the constant must be greater than 3.1415926 and less than 3.1415927. 

The Mayas likely also knew of this ratio, and, given their sophisticated methods of calculation, had probably determined its value with a high degree of accuracy. However, it may be impossible to know for certain, as Diego de Landa, Bishop of Yucatan, burned most of the Mayas’ written records in the 1560s, believing that they were filled with “‘superstition and lies of the devil’.

Although knowledge of the constant ratio between a circle’s circumference and its diameter—the ratio we now call “pi”—is ancient, the use of the Greek letter “π” to represent it is not. Use of the π symbol is usually dated to William Jones’ work Synopsis Palmariorum Matheseos: or, a New Introduction to the Mathematics, published in 1706 and shown above (direct link to the book in that amazing resource called archive.org)

After spending some time in the Royal Navy as the mathematics master on a man-of-war, Jones worked as an itinerant teacher and then private tutor in London, and later edited and published editions of several of Isaac Newton’s works. His Synopsis Palmariorum Matheseos consists of two major sections, the first dealing with “Numeral and Literal Arithmetick” and the second with the “Principles of Geometry.” 

Jones uses the π symbol several times throughout the second part, in both diagrams and equations. Although Jones is generally credited as the first to clearly set the letter π equal to the value 3.14 . . ., he may actually have borrowed this use of the π symbol from the writings of the astronomer John Machin, who had calculated π out to one hundred decimal places, and whose work Jones cites elsewhere in his Synopsis. Regardless of which man used the π symbol first, mathematicians adopted the symbol as standard only after the noted mathematician Euler used it in his writings, approximately thirty years after the publication of Jones’ work.

William Jones, Synopsis Palmariorum Matheseos: or, a New Introduction to the Mathematics. London: Printed by J. Matthews for J. Wale, 1706.

X 510 J72S 

Selected Bibliography & Other sources

Arndt, Jörg, and Christoph Haenel. Pi –Unleashed. Trans. Catriona Lischka and David Lischka. Berlin: Springer, 2000. Print.

Beckmann, Petr. A History of Pi. 2nd ed. Boulder: Golem, 1971. Print. (Basically all historical references I mention on this post about the "PI" number for Babilonians, Hindus, Mayas, etc are deep/well explained on this book). Also available at amazon, see link here to buy for less than 15 USD

As usual, wikipedia for William Jones BIO; archive.org (this time the book is not high res and only B/W no color but...)