Originally this image was a mural in Sir Anthony Browne’s Cowdray House. Incidentally, the Society commissioned the only record of it from Samuel Hieronymous Grimm in 1785 before the murals at Cowdray House were destroyed by a fire in 1793, which is what we see here.

The third and final panel offers a vision of the restored church, with a new cupola, with images of the royal family, and angels rejoicing in the wonderful work of restoration.

When opened, the first panel shows their destination, Paul’s Cross, the preaching place where they assemble to hear a sermon that urges the rebuilding of the Cathedral.

The outer painting, which is visible when they diptych is closed, depicts ships sailing up the English Channel and a procession of civic and religious figures, headed by the King and the royal family, moving across London Bridge to the city.

The diptych should be read from the outside first: one panel has a painting on both sides, and the second panel could be fixed to a wall.

There is also confirmation of their return to London in June 1945. Additionally there is an insurance policy for the transportation of the files against fire, theft or accidental loss.

The full volume of correspondence between the Society and Viscount Fareham confirm the arrival of the books 30 January 1941 and a catalogue of all works stored onsite as well as discussion of employment for Yvonne Hackenbroch.

Here we see some correspondence from the Society to Viscount Lee of Fareham, in WWII, relating to the storage of 50 volumes of manuscripts at his property, 'The Old Quarries', in Gloucestershire.

Please note: This display is available to be seen by Fellows and Affiliate Members during our regular Library opening hours (Monday to Friday, 10am-5pm) and by members of the public who are coming to the building as part of an event which they have booked for.

Learn more about this and other items in the display at this link: www.sal.org.uk/event/inked-...

This relief process means that the raised parts of the woodblock hold the ink, transferring the design onto paper when it is pressed. This woodblock shows the step before the carving, when an artist transferred the design by drawing on the blackened woodblock using white charcoal.

Engraved woodblocks are created by carving an image into wood using sharp tools like gouges. The areas to be printed are left at the original surface level, and the surrounding, non-printing areas are cut away.

This woodblock, part of the display, belongs to a collection of woodblocks and copper plates commissioned by Rev. Thomas Streatfeild (1777-1848) for an expanded series of Edward Hasted's History of Kent. Only one volume, The Hundred of Blackheath, was published, posthumously in 1886.

This detail show the of the gunpowder plot, including the moment where a heavenly ray of light points at where the gunpowder was kept, leading the path to its discovery, while a devilish figure (presumably meant to represent the plotters), tries to sneak away.

. The powder-treason, in 1605. And the heauy time of Gods visitation, 1625. With a zealous prayer to turne from vs the fourth iudgement, that is likely to fall vpon vs by the sword.' It was made by Michael Sparke around 1627.

These images come from an engraved broadside titled 'To the glory of God in thankefull remembrance of our three great deliuerances vnto eternal memory, is here described; The Spanish armado, in 1588......