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.
In August 2015, Giles Constable donated a small collection of fragments and charters in memory of his daughter, Olivia Remie Constable (1960-2014), who had been the Robert M. Conway Director of the Medieval Institute at the University of Notre Dame. The gift included a thirteenth-century leaf from a processional, later shown to be at Wilton Abbey, a women’s Benedictine house, until 1860. The parent manuscript was broken by Cleveland biblioclast, Otto F. Ege (1888-1951), who included leaves from it in his portfolio, Fifty Original Leaves from Medieval Manuscript. It was Leaf no. 8. Leaves from the processional were disseminated widely through Ege’s portfolios as well as from later dealers, and now are part of many American and Canadian collections. Processionals contain the antiphons and rubrics pertaining to the processions themselves. For example, Palm Sunday and the Visitatio sepulchri are included.
Constable MS 4 contains part of the procession for Palm Sunday. Of great interest, and rarity, is the use of feminine forms in the rubrics (e.g., ‘cantrix’). This shows intentional customization for a female religious community, whereas many other manuscripts often transmit the masculine forms even though they were used by women.
Alison Altstatt, “Re-membering the Wilton Processional,” Notes 72 (2016): 690-732.
David T. Gura, A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and Saint Mary’s College (Notre Dame, IN: University of Notre Dame Press, 2016), pp. 480-482.
Scott Gwara, Otto Ege’s Manuscripts (Cayce, SC: De Brailes, 2013).
Special Collections thanks our six graduating seniors for the work they have done for us processing collections, assisting visitors, reshelving books, shifting collections, scanning documents, and assisting our rare book catalogers.
Join co-curators Rachel Bohlmann (American History Librarian) and Jean McManus (Catholic Studies Librarian) for a guided tour Thursdays at 12:30 pm through March (excluding Spring Break, March 16), and learn more about American Catholic history held in the library’s Rare Books and Special Collections and ND Archives. Tours will last up to an hour.
To schedule a class or group tour, please contact Rachel Bohlmann via email or phone: (574) 631-1575.
Spotlight Exhibits: Bram Stoker’s Lecture on Abraham Lincoln and The Nathaniel Rogers Sermon Notebook, ca. 1634-1645.
As she read through seven or eight albums, Jenifer realized that they not only gave her, as she states in an email interview with Special Collections, “a really good look into the lives of young women in the 19th century—especially how their friendships played out”—but that they also provided unexpected access to the young women writers themselves. Her close reading of the texts told her “a lot about young women’s friendships,” but more interestingly, it revealed an interesting preoccupation these women had with “ideas of eternity and things that are everlasting.”
Given the dearth of scholarship on friendship albums, Jenifer’s project is a welcome addition. Her research, in particular, expands upon a topic that two historians, Anya Jabour and Catherine Kelly, according to Jenifer, only briefly mention, namely the enduring nature of friendship. During her analysis of the albums, Jenifer examined the messages friends left to the album’s owner as well as the physical artifacts themselves.
One particularly fruitful investigation centered around the album of Harriet Curry. Jenifer noticed that a note, “drowned in Lake Erie,” after an entry by Abby Jane Williams differed in color from the ink used in the entry. This began Jenifer’s search to verify if Williams did drown in Lake Erie and to identify who wrote that note. Jenifer recounts:
After some online searching using the search terms “Abby Jane Williams” and “Lake Erie,” I found a book titled Lloyd’s Steamboat Directory, and Disasters on the Western Waters (published 1856) that detailed the account the burning of the steamer Erie in 1841. Among the listed dead was a Mrs. Giles Williams. I was later able to corroborate that this was the same Williams who had left an entry in Harriet Curry’s friendship album by locating her record on ancestry.com and findagrave.com, which confirmed that Abby Jane’s husband was indeed named Giles. Giles apparently survived the boat’s burning.
Still to be resolved was who wrote the note. After further analysis of the album’s contents, Jenifer concluded that “drowned in Lake Erie” was written by Harriet Curry herself. This was in line with similar notes in the diary “denot[ing] when one of her friends had gotten married, moved away, or died.” Jenifer further explains, “This, to me, showed that even after years had passed, Harriet still cared about her friends. Her friendship lasted forever, just like many of her friends wrote in her friendship album.”
The Curry example was but one among numerous pieces of evidence that Jenifer located in the albums she consulted to argue that these albums contained an “exhortation to . . . trust in everlasting eternal things,” rather than “temporal things that would eventually pass away.” She identified that there were certain everlasting qualities valued by these women; these were “God, prayer, and friendship itself.” Her research brought her to the conclusion that these young women writers:
valued the everlasting over the ephemeral. Transitory things such as youth, beauty, and suffering were dismissed in favor of enduring communion with God and friends. Friendship, of course, was the ultimate enduring joy to these women, and the survival of their friendship albums through to the present day proves the unending nature of their affections.
Jenifer Blouin earned her BA in History from Bethel College in Mishawaka, Indiana in 2015 and expects to earn her MA in Public History from Western Michigan University in December 2017. Her research focuses on the historical significance of cemeteries as sites of memory and cultural resources. More generally, Jenifer is interested in gender and women’s history.
Special Collections thanks Jenifer for her time and for sharing the results of her research that brought the friendship albums in our collections to light. We also appreciate the review she wrote of our department for the American Historical Association’s Archives Wiki.
Mary Huntington Morgan was the daughter of Daniel Nash Morgan (1844-1931), Treasurer of the United States during Grover Cleveland’s administration. Her diary from 1896 (MSN/MN 8009-1-B) recounts the life of this young, single socialite in the nation’s capital.
She narrates the demands of such a life—lunches and teas, dinners and dances, theater performances and lectures, ceremonial appearances at government events and diplomatic receptions. Yet, Mary also pens her personal endeavors, weaving through her music lessons and letter writing to her fondness for reading.
This semester (Spring 2017), the department piloted a new project to facilitate the diary’s use by a class in the Notre Dame History department, the United States’ Gilded Age. Collaborating with the professor, Special Collections digitized and made the Mary Huntington Morgan diary available in the Hesburgh Library’s new digital artifact viewer. In addition to being able to work with the physical object in Special Collections, students now have the opportunity to study the diary more extensively using the digital artifact, not only reading its contents but also learning skills such as how to transcribe text. The digitized artifact has made it possible for a class of 15 students to work on the same item simultaneously and to discuss their work and the diary itself in their own classroom.
Frag. I. 36 is a single leaf from a type of devotional manuscript known as a Psalter-Hours. As its name implies, the book contained a Psalter as well as the Hours of the Virgin accompanied by other texts. The Psalter-Hours grew in popularity among the laity in the mid to late thirteenth century, whereas the few earlier examples were used by monastics. The Book of Hours became far more common in later centuries for the laity and eventually displaced the Psalter-Hours, though not completely.
This particular leaf contains a portion of the Office for the Dead, which the living would pray to ease the departed’s time in Purgatory. The end of Job 10.20 is followed by a responsory and a versicle. The text on the verso breaks off at Psalm 22.2.
The decorative borders are typical of Flemish painting during the thirteenth century. The initials are inhabited by grotesques and a playful illustration of a dog chasing a hare occupies the lower margin of the verso.
Since the late 1960s, Uruguayan writer Cristina Peri Rossi has written 5 novels, 10 collections of short stories, 18 books of poetry, 4 books of essays, and innumerable cultural articles published in major European newspapers. Her works have garnered critical praise and won her many international awards over the years.
In the early 1970s, Peri Rossi was exiled from Uruguay to Spain as the country came under control of a military regime. The political violence endemic in Uruguay and the broader Southern Cone during the 1970s and 1980s is allegorized in many of her works. This violence and censorship affected an entire generation of authors and intellectuals from Uruguay, Argentina, and Chile and influenced their work. In recent critical studies, these authors have been recognized as the “Generation of ’72,” with Peri Rossi often being identified as the leading voice of this group.
The Cristina Peri Rossi Papers at Notre Dame include manuscript drafts of her published novels as well as unpublished poems and short stories, handwritten diaries, photographs, recorded interviews, and correspondence with family, friends, and other major Latin American and Spanish authors and intellectuals.
The Bamberg Apocalypse facsimile is an original-format copy of a manuscript commissioned by Otto III (980-1002 AD). After his untimely death, the manuscript was left unfinished in the scriptorium of the Benedictine Abbey of Reichenau in Southern Germany. His successor, Henry II (973-1024 AD) ordered it finished. Thus, the manuscript dates to 1000-1020.
Containing 106 leaves in total, the first fifty-seven leaves of the Bamberg Apocalypse (Bamberg, Staatsbibliothek, Msc. Bibl. 140) contain the text and images of the Apocalypse of St. John from the Bible (a.k.a., Revelation). The remaining leaves of the manuscript include gospel pericopes (extracted readings) for specific feasts. There are a hundred decorated initials throughout the manuscript along with fifty-seven images, or miniatures, forty-nine of which provide striking visual interpretations of the prophecies contained in the Apocalypse concerning the end of the world and the final judgment, all with significant gold decoration.
The image shown above, described in the facing text, depicts Apocalypse 12:1-5. The woman, who has brought forth a man child, is clothed with the sun and has the moon under her feet. The great dragon with its seven heads and ten horns looks on in the foreground. Though the text describes a red dragon, the image features a multi-colored dragon—red, gold, and purple. Standing in the background is the Church that houses the Ark of the Covenant.
There were many ornate apocalypses and apocalypse commentaries produced during the Middle Ages, and, while we do not own the manuscripts, Hesburgh Libraries’ Rare Books and Special Collections houses facsimiles of several in addition to this recently acquired version. Be sure to search “apocalypse” in our database of facsimiles for more information on these fascinating, illustrated manuscript facsimiles.
Manuscripts, incunabula, seals, maps, engravings, and printed books from the thirteenth century to the present highlight how the Holy Father has left his mark on society. These materials from RBSC, together with a great bull on loan from Saint Mary’s College, are featured in the new exhibit “Vestigia Vaticana.” The exhibit’s opening coincides with the conference The Promise of the Vatican Library, being held May 8–10, 2016, at the University of Notre Dame.
These materials are like the Vatican’s footprints. They provide a trail for us to follow to get a glimpse of the official acts of the Holy Father, of books that belonged to popes, of events the general public wasn’t privy to. Take a stroll through the exhibit to see these papal bulls, apostolic briefs, a papal conclave print, a ground plan of Rome, and various other pieces.