Friday, September 15 at 4:00pm | Dedication program for Emily Young’s sculpture Lethos, to be followed by a reception in the Carey Courtyard View Area (Second Floor – Hesburgh Library). Sponsored by the Hesburgh Libraries and the Alumni Committee for Poetry and Sculpture.
The monthly spotlight exhibit for September is The Art of Botanical Illustration: Philip Miller’s Gardeners Dictionary.
The summer spotlight exhibit, “Which in future time shall stir the waves of memory” — Friendship Albums of Antebellum America, continues to be on display through September and features seven volumes from Special Collections’ manuscripts of North America holdings.
Paul van Vlissingen, owner of the Dutch company SHV (Steenkolen Handels Vereeniging), commissioned the noted book maker Irma Boom to create a volume to commemorate the anniversary of his family’s firm. Boom had full access to the archives of the company and the family to aid her in conceiving what became a 2,136 page tome.
Given full artistic control and no budget, she spent five years fashioning the volume. It is a most unusual creation, incorporating a wide range of surprising and innovative design elements. As an example, the edge of the text block displays a field of tulips when its pages are flipped from left to right, but flipping them the opposite way reveals a poem.
The book’s contents are arranged in reverse chronological order, and are unnumbered to encourage accidental discovery. Pages are perforated and use different inks and typefaces. Irma Boom has received many awards, including a Gutenberg Prize, for her book designs. The SHV Think Book is her most celebrated work, and was acquired by the Museum of Modern Art as an international icon of Dutch design.
At the outbreak of the First World War, there were approximately 10,000 British nationals within the borders of the German Reich. Some were on holiday while others had resided in the country their entire lives or were passing through as sailors aboard merchant vessels. Regardless of background, their British citizenship marked them for suspicion in the eyes of the German government as well as retaliation for the plight of German nationals in Great Britain. Therefore, it was determined that male British nationals of military age were to be arrested and interned for the duration of the war (though with the possibility for freedom through prisoner exchanges). While various camps were hastily constructed to house these detainees, Ruhleben was the only camp that was entirely populated by civilian prisoners.
Constructed on the grounds of a horse racing track on the outskirts of Berlin, Ruhleben would house over 4,000 prisoners at its height. Inmates were barracked in repurposed stables in extremely poor condition due to the inadequate facilities. Over time and with the intervention of the American ambassador, Ruhleben would grow to include not only upgraded barracks and latrines, but also a library, school, stores, and post office. Lack of privacy was a perpetual concern for the men while at the same time they were virtually cut off from the rest of civilization apart from Red Cross parcels and short letters from home. As a result the camp formed its own community complete with newspaper, theater productions, sports teams, and various clubs to keep boredom at bay.
One such endeavor was In Ruhleben Camp and its successor The Ruhleben Camp Magazine. Special Collections recently acquired a full set of these issues in two bound volumes accompanied by a bound, two-volume scrapbook containing original drawings from the magazine. Published fortnightly, the magazine included stories and cartoons parodying camp life as well as reports of camp activities such as reviews of musicals, sports recaps, and advertisements for lectures. A marked tone of humor is prevalent throughout, in keeping with the unofficial camp slogan “Are we downhearted? No!” An in-depth chronicle of camp life, the magazine represents some of the best documentation of the Ruhleben experience.
The highlight of this collection is the two-volume scrapbook. Bound in pasteboard and measuring 16.5″ x 12.75,” the scrapbook contains 53 original drawings in pen-and-ink, watercolor, and graphite. Although the purpose of the scrapbook is not certain, material on the front cover indicates that the scrapbook was a mock-up for a London publisher, George Newnes Ltd., to use for the publication of a book to be called, “The Lighter Side of Lager Life.” Who compiled the scrapbook is also unknown, but it may have been one of the magazine’s editors, Louis Egerton Filmore or C. G. Pemberton.
The scrapbook volumes include original illustration, many of which did not appear in the printed magazines. The drawings depict camp life in a vivid display of the camp’s signature humor. Original artwork is paired with clippings that parody classic British texts such as “Alice Through the Lager Glass” and Shakespeare rewritings. These parodies were some of the most popular types of entries in the printed magazine. Other literary pieces included poetry known as “Ruhlimericks” which poked fun at camp conditions and life or humorous advertisements for various services.
… on Sunday, the 29th March, at 8½ A.M., we cast off from the Yard, with a fine breeze at the N. W., and clear cold weather, the steam Tug, “R. B. Forbes,” in company, with some of the members of the Committee, on board. In about one hour we parted from them, with hearty cheers, and made sail on our course.
A remarkable voyage to bring relief to the Irish in the Great Famine is the subject of Captain R. B. Forbes’ report, The Voyage of the Jamestown on Her Errand of Mercy, published in Boston in 1847. His report for the “Committee of Distribution” combines his account with a substantial appendix of correspondence and other documentation.
After the Irish potato crop failed due to blight in 1845 and again in 1846, knowing that the potato provided most of the subsistence for a large part of the Irish population, concern for this famine grew throughout the world, but especially in places such as Boston where there was a considerable population of Irish birth or descent. Those who provided assistance in early 1847 expected that the harvest later that year would bring an end to famine, but in fact the blight persisted and the Great Irish Famine lasted until 1852. [i]
The June spotlight exhibit, on display through the end of the month, is J. P. Homann’s “Buffalo Map,” ca. 1720.
On display is a map of North America by the important German cartographer J. P. Homann, emphasizing French claims in the Mississippi River Valley in the early eighteenth century. The map is one of several hundred items making up the Edward and Sheila Scanlan Collection of Maps of the Great Lakes Region, donated by the Scanlans to the Hesburgh Libraries in 2003-04. The exhibit is curated by George Rugg (Curator, Special Collections).
The July spotlight exhibit will feature German children’s literature from the two World Wars, and will be co-curated by Sara Quashnie (MLIS Candidate, University of Illinois, Urbana-Champaign, ND ’15) and Julie Tanaka (Curator, Special Collections).
The Summer spotlight exhibit, on display now through September, is “Which in future time shall stir the waves of memory” — Friendship Albums of Antebellum America. On display are seven manuscripts from Special Collections’ manuscripts of North America holdings.
Among the characteristic manuscript forms of antebellum America are albums filled with poetry, prose, drawings, and other content created for the book’s owner by family and acquaintances. Such friendship albums, as they are called, have a long history, but they were especially prevalent in the Romantic era, with its new ideology of sentimental friendship. In the United States friendship albums begin to appear in number in the 1820s, and while contributors were often male, the albums themselves were usually maintained by young women.
This digital exhibit expands on the current exhibit on display in Special Collections. It displays examples of American Catholicism expressed through (mostly) printed texts from 1783 through the early 1840s. They include the earliest Catholic bibles published by Mathew Carey, and editions of Thomas à Kempis’ The Imitation of Christ used and produced in the United States; polemical pamphlets with sexual and political subtexts that flew back and forth across the Atlantic; no-holds-barred dueling sectarian newspapers; books and pamphlets created in reaction to mob violence against the Ursuline convent school near Boston; and official reports that mapped the Church’s growth and growing pains.
Questions and comments may be directed to Rachel Bohlmann and Jean McManus. The physical exhibition continues to be open to the public through August 11, 2017.
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.
Among the harbingers of spring here in RBSC is the introduction of a newly completed digital exhibit of early baseball publications and manuscripts drawn from the holdings of the Joyce Sports Collection. “Words on Play: Baseball Literature before 1900” brings together recreational manuals, guidebooks, histories, biographies, fiction and other forms, including many of the subject area’s great rarities. The exhibit was created by RBSC’s Americana curator, George Rugg.
Over the course of the nineteenth century, American baseball evolved from a localized folk game of English origin to a codified sport of broad popular appeal, commonly cited as the “National Pastime.” Clubs of young men dedicated to playing the game began to appear in earnest in the New York City area in the second quarter of the century; the rules they established became the basis for the sport as we know it today. In the post-Civil War years baseball became thoroughly commodified: crowds of paying spectators gathered in enclosed “parks” to watch celebrated professionals compete at an elite level. By 1900 baseball had entered the mainstream of American popular culture, and had been imbued with many of the mythologies that would persist in the minds of its celebrants well into the twentieth century: baseball as pastoral ideal, baseball as an exercise in democracy, baseball as secular religion. As a recreational form, then, baseball originated in England, but as a form of sport it is American, for it was in America that the game became standardized, organized and popular—and, one might add, the subject of a literature.
The printed word both recorded baseball’s growth and stimulated it. In the first few decades of the nineteenth century the game is mentioned mainly in children’s recreational manuals. Baseball’s rapid rise after mid-century was accompanied by a growing commentary, mainly in sporting newspapers and paper-bound annual guides, describing, discussing, and otherwise publicizing the game. By the 1880s and 90s coverage of professional baseball in urban daily newspapers had became routine, and many of the familiar genres of baseball book had made their appearance. Baseball journalists—who authored many of the books in this exhibit—never tired of emphasizing their contribution to the game’s success, and that contribution was no doubt great. Still, the number of baseball monographs published in the nineteenth century was not large; “Words on Play” brings together copies of most of the key publications of baseball’s early history.