To honor all who died while serving in the United States Armed Forces.
Memorial Day, originally celebrated as Decoration Day, began after the Civil War. John A. Logan, a general in the Union Army and Commander-in-Chief of the Grand Army of the Republic, a fraternal organization of Civil War veterans, issued General Orders No. 11. Logan designated that the graves of those who died fighting to defend their country be decorated on May 30, 1868. Almost 100 years to the day later, President Lyndon B. Johnson signed into law, Public Law 90-363, the Uniform Holiday Bill, establishing the official observance of Memorial Day as the last Monday in May.
Joyce Kilmer (1886-1918), an American journalist and poet from New Brunswick, New Jersey, served in the 69th Infantry Regiment of the New York Army National Guard during the First World War. He fell victim to a sniper’s bullet during the Second Battle of the Marne on July 30, 1918. His poem, “Memorial Day,” appeared in his second volume of poetry, Trees and Other Poems, published in 1914 by George H. Doran and Company.
Shelley’s novel was first printed anonymously in three volumes in 1818 for the London publishing firm Lackington, Hughes, Harding, Mayor, and Jones in an edition of 500 copies. RBSC’c set is tastefully bound in contemporary style in 20th-century tan, smooth morocco. Spines are gilt-ruled in compartments with black morocco title labels and the sides are bordered with a double gilt rule.
The acquisition of the first edition of Frankenstein was made possible by the Hesburgh Libraries, a Nanovic Institute for European Studies Library Grant, the Department of Political Science (Notre Dame), and Professor Eileen Hunt Botting in memory of her brother, Kevin E. Hunt.
Mark Your Calendars – Upcoming Events
Mary Shelley’s 1818 Frankenstein will be the centerpiece of a spotlight exhibit, It’s Alive! Frankenstein in the Arts and Sciences, in Special Collections in Fall 2018. The exhibit will be part of a series of campus-wide events celebrating the bicentennial of Frankenstein.
Special Collections will also host a multidisciplinary panel discussion on Friday, October 19, 2018 with faculty from both Indiana University School of Medicine at South Bend and the University of Notre Dame exploring Frankenstein’s relevance to 21st-century medicine and medical ethics.
In other news, the July spotlight exhibit featuring a recently acquired Piranesi volume will soon be changed out for the August spotlight exhibit highlighting the Elisabeth Markstein Archive.
The spring and summer exhibit Vestigia Vaticana will remain on display through August 15. After that, the fall exhibit will be installed: Ingenious Exercises: Print and Physical Culture in Early Modern Europe, 1500-1800.
Watch for news about a new Fall semester spotlight exhibit soon!
The Hesburgh Libraries recently acquired a two-volume set called Raccolta di Varie Favole by Giorgio Fossati. Published in Venice in 1744, these books gather 216 fables from a variety of sources. The fables are printed in both Italian and French, and conclude with brief proverbs. Each is illustrated with a full-page engraving, many of which portray animals and/or architectural settings.
Giorgio Fossati (1705-1785) identifies himself as “Architetto” on the title page, but was a polymath of many talents. He was an accomplished etcher and book illustrator, publishing editions of Vignola and Palladio and producing numerous maps. He also worked in the performing arts, revising opera librettos and designing theatrical sets. He was specially noted for devising ephemeral decorations for feasts given in honor of distinguished foreign visitors.
This engraving “Of Armed Animals” comes from Book One, Fable 27. It illustrates the “soldiers” chosen by a wise Lion whose kingdom was being challenged by an upstart Leopard. These animals, among which are the Rhinoceros, the Crocodile, the Hedgehog, the Porcupine, and the Tortoise, all feature as their distinguishing characteristic both offensive and defensive capabilities. This thoughtful choice of “troops” enabled the Lion to defeat and banish the Leopard’s army. The accompanying proverb advises on the importance of soldiers being able to respect their leader.
Domenico Angelo (c1717-1802) was an Italian fencing master whose School of Arms in Soho, London brought continental small-sword techniques to a fashionable English clientele that included members of the royal family. His L’École des armes (The School of Fencing), first published in London in 1763, went on to become the most influential instructional of the later eighteenth century (and the immediate source for the article on fencing in Diderot’s Encyclopédie). It is also a lavish book, an oblong folio (29 x 47 cm) containing 47 engraved plates after John Gwynn. Together, Angelo’s text (written in French) and Gwynn’s images provide a course of instruction that emphasizes both the cultivation of poise and grace and practical modes of self-defense.
Rare Books and Special Collections recently acquired a first edition of L’École des armes, an important addition to the early modern sport-related titles in the Joyce Sports Collection.
An important new acquisition is Giovanni Battista Piranesi’s Antichità d’Albano e di Castel Gandolfo (Antiquities of Albano and Castel Gandolfo), published in Rome in 1764. This volume is dedicated to Pope Clement XIII, who was an important patron of Piranesi’s. It is bound with two related works from 1762: Descrizione e disegno dell’emissario del Lago Albano (Description and Design of the Emissarium of Lake Albano) and Di due spelonche ornate dagli antichi alla riva del Lago Albano (Concerning Two Caves Embellished by the Ancients on the Bank of Lake Albano). All three focus on the environs of Castel Gandolfo, which is just outside of Rome, overlooking Lake Albano, and is the summer residence of the popes.
Piranesi (1720-1778), best known as an etcher and engraver, was an influential figure in eighteenth-century neoclassicism. His Vedute di Roma (Views of Rome) were informed by his personal architectural and archaeological research and are especially celebrated. Also of significance are his Carceri, which are imaginative views of early Roman prisons.
The volume acquired by the library was produced soon after Piranesi opened his own printing studio in 1761. It is a very early edition, issued without several of the illustrations that appeared in later versions. Two of the plates in Di due spelonche have lettering and drawing in pen and brown ink which are believed to be in Piranesi’s hand. Only eight other copies of this kind are known to be in existence.
Bram Stoker (1847-1912), when he was manager of the renowned English actor Henry Irving, made many trips to the United States. Over the course of these visits and perhaps after meeting the poet Walt Whitman in 1884, he became intrigued by Abraham Lincoln. In the late 1880s and 1890s, Stoker lectured on Lincoln at numerous venues in both the United States and Europe.
In composing his lecture, Stoker drew on many of the standard sources of the day and also quotes Whitman. Stoker emphasizes slavery throughout and Lincoln’s role as emancipator. A long prelude provides background on the “peculiar institution” in the United States and the sectional crisis of the 1850s. Then follows the life of Lincoln proper. Stoker’s attitude toward his subject is reverent in the extreme. Explaining that “the hour had come for the final struggle . . . between slavery and freedom,” Stoker reiterates to the audience in introducing his subject, “The hour had come—and with it . . . came the man—Abraham Lincoln.”
Notre Dame holds the original, working copy of Bram Stoker’s 152-page, unbound manuscript. Approximately half of the Notre Dame manuscript is a single, essentially sustained narrative though deletions, additions, and corrections abound. The rest consists of variations on portions of that narrative inserted, perhaps, to suit a particular audience.
The posthumous First Folio printing of William Shakespeare’s plays in 1623 represents a landmark development in the history of English drama, rescuing some of the bard’s works that would have been lost forever. The earlier editions that do exist, however, differ markedly from the First Folio, and there is little evidence that Shakespeare oversaw their publication. What, then, is the “real” text?
The Shakespeare we know emerges from hundreds of years of this debate. Current holdings and recent acquisitions in Rare Books and Special Collections shed light on the discussion as it developed into the nineteenth century. Selections from the Second and Third Folio accompany printings by some of Shakespeare’s earliest critical editors, including the famous poet Alexander Pope and the moral censor Thomas Bowdler.