Folio 56 recto of the Aberdeen Bestiary has a miniature ( illuminated manuscript ) | miniature of the Phoenix ( mythology ) | Phoenix.

Folio 5 recto: Adam ( Bible ) | Adam names the animal s.

Folio 8 recto: Tiger ( Tigris ).

Folio 9 recto: Panther ( legendary creature ) | Panther ( Panther ).

Folio 13 recto: Satyr ( Satyrs ).

Folio 15 recto: Monocerus | Monoceros ( Monoceros ).

Folio 21 recto: Sheep | Ram ( Aries ).

Folio 21 recto: Domestic sheep | Lamb ( Agnus ).

Folio 56 recto: Phoenix ( mythology ) | Phoenix ( Fenix ).

Folio 65 recto: Perindens tree ( Perindens ).

* Folio 1 ( i. e., leaf ) recto: Creation of heaven and earth ( Genesis, 1: 1-5 ).

* Folio 2 recto: Creation of the birds and fishes ( Genesis, 1: 20-23 ).

* Folio 3 recto: Creation of man ( Genesis, 1: 26-28, 31 ; 2: 1-2 ).

* Folio 5 recto: Adam names the animals ( Isidore of Seville, Etymologiae, Book XII, i, 1-2 ).

* Folio 7 recto: Lion ( Leo ) ( Physiologus, Chapter 1 ; Isidore of Seville, Etymologiae, Book XII, ii, 3-6 )

* Folio 8 recto: Tiger ( Tigris ) ( Isidore of Seville, Etymologiae, Book XII, ii, 7 )

* Folio 9 recto: Panther ( Panther ) ( Physiologus, Chapter 16 ; Isidore of Seville, Etymologiae, Book XII, ii, 8-9 )

* Folio 10 recto: Elephant ( Elephans ) ( Isidore of Seville, Etymologiae, Book XII, ii, 14 ; Physiologus, Chapter 43 ; Ambrose, Hexaemeron, Book VI, 35 ; Solinus, Collectanea rerum memorabilium, xxv, 1-7 )

* Folio 11 recto: Beaver ( Castor )

* Folio 11 recto: Ibex ( Ibex ) ( Hugh of Fouilloy, II, 15 )

** Folio 12 recto: Crocotta ( Crocotta ) ( Solinus, Collectanea rerum memorabilium, xxvii, 26 )

* Folio 12 recto: Bonnacon ( Bonnacon ) ( Solinus, Collectanea rerum memorabilium, xl, 10-11 )

* Folio 13 recto: Satyr ( Satyrs )

* Folio 13 recto: Deer ( Cervus )

* Folio 14 recto: Goat ( Caper )

* Folio 80 verso: Isidorus on the nature of man ( Ysidorus de natura hominis )

The back or second ( verso ) side of Folio 1, in a half-page illustration, depicts the initial stages of the creation of the Libro de juegos, accompanied by text on the bottom half of the page, and the front or first ( recto ) side of Folio 2 depicts the transmission of the game of chess from an Indian Philosopher-King to three followers.

Another is that the Quarto is based on an early version of the play, while the Folio represents Shakespeare's revised version.

Most modern editions are based on the longer Folio version, but often incorporate Quarto readings of words when the Folio text appears to be in error.

A bitter dispute between Hooke and Christiaan Huygens on the priority of this invention was to continue for centuries after the death of both ; but a note dated 23 June 1670 in the Hooke Folio ( see External links below ), describing a demonstration of a balance-controlled watch before the Royal Society, has been held to favour Hooke's claim.

Both the Quarto and the First Folio call him " Robin Goodfellow " on the first entrance, but call him " Puck " later in the same scene, and they remain inconsistent.

Kier Elam posits a date of 1591 as a terminus post quem for the composition of the Folio text of The Shrew, based on Shakespeare's probable use of two sources published that year.

< div class =" references-small "> All references to The Taming of the Shrew, unless otherwise specified, are taken from the Oxford Shakespeare ( Oliver, 1982 ), which is based on the 1623 First Folio.

In 1980, David Jones ( director ), former Associate Artistic Director of the Royal Shakespeare Company chose to launch his new theatre company at the Brooklyn Academy of Music ( BAM ) with The Winter's Tale starring Brian Murray supported by Jones ' new company at BAM In 1983, the Riverside Shakespeare Company mounted a production based on the First Folio text at The Shakespeare Center in Manhattan.

Beginning in the early 1970s he became a prolific illustrator for many anarchist, radical, alternative and mainstream publications, organisations, groups and individuals including Freedom Press, Undercurrents, Respect for Animals, BIT Newsletter, Arts Lab Newsletter, Idiot International, 1977 Firemans Strike, Libertarian Education, The Idler, Radical Community Medicine, Anarchy Magazine, Black Flag, Anarchy Comix, Common Ground, Industrial Worker, Aberlour Distillery, Country Life, Graphical Paper and Media Union, The Times Saturday Review, Tolpuddle Martyrs Festival, New Scientist, Oxford University Press, Penguin Books, Times Educational Supplement, London Anarchist Bookfair, Public and Commercial Services Union, The Sunday Times Magazine, Catholic Worker, Soil Association, The Bodleian Library, New Statesman, Cienfeugos Anarchist Review, Headline Books, The Financial Times, Resurgence, Scotland on Sunday, Town and Country Planning Association, Movement Against A Monarchy, Nursing Times, John Hegarty, The Listener, Zero, McCallan Whisky, Solidarity, New Society, News from Neasden, House & Garden, The Tablet, Radical Science Journal, Royal Mail, The Co-ops Fairs, Picador Books, Pluto Press, Working Press, Anarchismo, Insurrection, Our Generation, Ogilvy & Mather, Vogue, Radio Times, National Union of Teachers, Faber & Faber, Pimlico, Trades Union Congress, Transport and General Workers Union, Serpents Tale, Compendium Books, Poison Girls, Yale University Press, The Daily Telegraph, The Independent, Elephant Editions, Intelligent Life, Landworker, Zounds, Honey, New Musical Express, Knockabout Comics, Trickett and Webb, The Times, See Sharp Press, Countryside Commission, Industrial Common Ownership Movement, BBC Worldwide, Stop the War Coalition, The Folio Society, Unison, Anarchist Studies, Country Standard, Fitzrovia News, Anarchist Black Cross and many others.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text of 2 Henry VI ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 1, unless otherwise specified, are taken from the Oxford Shakespeare ( Taylor ), based on the First Folio text of 1623.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 2, unless otherwise specified, are taken from the Oxford Shakespeare ( Warren ), based on the First Folio text of 1623.

Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland ( after the names of two of Cade's rebels in the Folio text of 2 Henry VI ), who commented ( with dialogue written by Strehler himself ) on each of the major characters as they set about burying them.

All references to Henry VI, Part 3, unless otherwise specified, are taken from the Oxford Shakespeare ( Martin ), based on the First Folio text of 1623.

With the exception of Pericles, Prince of Tyre, all of the productions were based on the texts of the First Folio ( 1623 ), however, numerous changes were made throughout the series.

After New Facts, New Particulars and Further Particulars respecting Shakespeare had appeared and passed muster, Collier produced ( 1852 ) the famous Perkins Folio, a copy of the Second Folio ( 1632 ), so called from a name written on the title-page.

Later 17th-century folios of William Shakespeare's works can still fetch about the price of a small house but are more readily available and relatively obtainable, whereas almost all extant copies of the First Folio are owned by libraries, museums or universities and thus are unlikely to appear on the market.

All references to The Two Gentlemen of Verona, unless otherwise specified, are taken from the Oxford Shakespeare ( Warren ), based on the First Folio text of 1623.

Based on this evidence, scholars believe it was a very late addition to the Folio, and therefore may have been added wherever there was room.