Recent Acquisition: Leaf from a 13th-century illuminated Flemish Psalter-Hours

by David T. Gura, Curator, Ancient and Medieval Manuscripts

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.

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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.

This fragment is fully described in 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. 452-53. Expected publication: November 2016.

 


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Recent Acquisition: Cristina Peri Rossi Papers

Poster promoting publication of Peri Rossi’s novel, La nave de los locos.
Poster promoting publication of Peri Rossi’s novel, La nave de los locos.

by David Dressing, Latin American and Iberian Studies Librarian, and Erika Hosselkus, Curator, Latin American Collections

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.

Draft of Peri Rossi’s poetry collection, Estado de exilio, with note signed by the author and the book, published in 2003, by Colección Visor de Poesía. The collection won the XVIII Premio Internacional Unicaja de Poesía Rafael Alberti. City Lights Publishers produced a bilingual (Spanish/English) edition of the book in 2008.
Draft of Peri Rossi’s poetry collection, Estado de exilio, with note signed by the author and the book, published in 2003, by Colección Visor de Poesía. The collection won the XVIII Premio Internacional Unicaja de Poesía Rafael Alberti. City Lights Publishers produced a bilingual (Spanish/English) edition of the book in 2008.
Two photos showing Peri Rossi with others.
Top photo: Peri Rossi with Julio Cortázar and two friends, Barcelona, 1974.
Bottom photo: Peri Rossi with publisher and poet, Carlos Barral, Barcelona, 1989.
Letter to Peri Rossi from Uruguayan poet, essayist, and critic Hugo Achúgar.
Letter to Peri Rossi from Uruguayan poet, essayist, and critic Hugo Achúgar.

 


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Recent Acquisition: Medieval Manuscript Facsimile

by Julia Schneider, Medieval Studies Librarian 

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.

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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.

 

“Vestigia Vaticana” Exhibit Opens

Frag_I_39-1r-cropped-v2Manuscripts, 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.

“Easter 1916: The Irish Rebellion” Exhibit Opens

This year marks the centenary of the Easter Rising, the rebellion that led to the eventual establishment of an Irish Free State. The University of Notre Dame’s Keough-Naughton Institute is at the forefront of the impetus to re-examine the events of 1916, with Professor Bríona Nic Dhiarmada’s three-part documentary, 1916 The Irish Rebellion which will be shown on public television in Ireland, the U.S. and at screenings throughout the world.

Notre Dame will also be the center of Irish studies for five days this spring as host to ACIS (the American Conference for Irish Studies). Over a thousand visitors are expected at this conference.

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In Hesburgh Libraries Rare Books and Special Collections, a special exhibit to mark this centenary is on display from February 12th until April 28th.

The exhibit draws from the Hesburgh Special Collections and includes books written by people involved in the events as well as contemporary accounts of the rebellion. Letters on display include one from Roger Casement. An extremely rare first edition of W. B. Yeats’s poem Easter, 1916 is part of the exhibit.

From the University Archives, a book recording the subscriptions of South Bend residents to an Irish government bond will be on display.

The exhibit is open to the public from 9 to 5, Monday through Friday.

Bram Stoker’s Manuscript of His Lecture on Abraham Lincoln

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.

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Folio 19r, showing the first example of the beginning of the lecture (MSE/IR 5304-1B).
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Folio 98r, showing a variation on the beginning of the lecture (MSE/IR 5304-1B).
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Folio 99r, showing another version of the beginning of the lecture (MSE/IR 5304-1B).
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Folio 160r, showing a third version of the beginning of the lecture (MSE/IR 5304-1B).

Evgeniia Ginzburg and Antonina Axenova Collection

Ginzburg and Axenova in Magadan, 1953.

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The Evgeniia Ginzburg and Antonina Axenova Collection is now open to students and researchers. The collection consists of several parts. The most important part revolves around Evgeniia Ginzburg (1904-1977), who spent 18 years in the Stalin GULAG and who chronicled those years in her memoir translated into English as: Journey into the Whirlwind and Within the Whirlwind. Ginzburg’s classic work is one of the earliest revelations of the Stalin camps and remains one of the most significant. The collection contains arrest documents, letters, some manuscript material, and many original photographs.

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Antonina Axenova with Evgenii Karelskikh in the movie I Serve on the Frontier (Lenfilm, 1974).

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Another part of the collection revolves around Antonina Axenova, who was born in the Kolyma camps and who was adopted by Ginzburg in 1949. Axenova became a film and stage actress, and the archive includes her documents, letters, photographs, scripts, programs, playbills, broadsides, and advertisements. Beisdes her career Axenova has also dedicated herself to preserving the legacy of her mother. She visited former KGB archives, made several trips back to the sites of the camps in the Kolyma region, and gathered together all of the material in the archive.

For a description of the collection’s over 700 items, see the finding aid. The collection also includes almost 100 books from the libraries of Ginzburg and Axenova. These books have been cataloged and can be located through the online catalog.

Commemorating Civil War Veterans

by Rachel Bohlmann, American History Librarian

Americans celebrate November 11th as Veterans’ Day. It commemorates Armistice Day—November 11, 1918—when, at the eleventh hour that day, France, Great Britain, and the United States (the Allied powers) and Germany signed an armistice that ended hostilities of the Great War (1914 – 1918). After World War II the United States officially designated November 11th as a day to remember veterans of all wars. However, its WWI origins remain in the Arlington National Cemetery ceremony, which includes a wreath placed on the Tomb of the Unknowns at 11 am.

Letter, Thomas Francis McGrath to his mother, January 20, 1863 and Veteran’s Badge, Dedication of NY State Monument, Antietam, September 17, 1920.
Letter, Thomas Francis McGrath to his mother, January 20, 1863 (MSN/CW 1001-16), and Veteran’s Badge, Dedication of NY State Monument, Antietam, September 17, 1920 (MSN/CW 1001-44).

Hesburgh Libraries’ Rare Book and Special Collections department holds many unique or rare items by soldiers about war remembrance. The Civil War (1861-1865) created a lot of soldiers who, even as they fought, reflected and recorded. Thomas Francis McGrath (1839 – 1922) traveled from Ireland to enlist in the 69th New York Infantry, a part of the Irish Brigade. In an 1863 letter to his mother, he contrasted Irish and Irish-American soldiers who died fighting for the United States, “that land, which gives a home . . . to the . . . oppressed of all nations,” with Irish men who lost their lives in the British army, fighting “under a Foreign Flag . . . for a government that robs his country and banishes her sons to a distant land.”

Carte-de-visite Portrait of Lt. James C. Woodworth, 1865, and 25th Massachusetts Infantry annual reunion ribbon, October 17, 1899.
Carte-de-visite portrait of Lt. James C. Woodworth, 1865 (MSN/CW 1014-16), and 25th Massachusetts Infantry annual reunion ribbon, October 17, 1899 (MSN/CW 1014-31).

James C. Woodworth (1839 – 1900) served in the 25th Massachusetts Infantry. He kept an 800-page diary of his wartime experience and collected miniature tintype portraits of soldiers in his company (an opening of which is this blog post’s lead image, MSN/CW 1014-15). After the war both McGrath and Woodworth attended soldiers’ reunions until the end of their lives; McGrath appeared at a monument dedication at Antietam in 1920, when he was in his early eighties, and two years after the end of World War I.

 


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Spotlight Exhibit: The Evgeniia Ginzburg and Antonina Axenova Collection

November 2015

This month’s spotlight exhibit features materials from the recently acquired archive of Evgeniia Ginzburg, the most famous woman prisoner of Stalin’s GULAG, and Antonina Axenova (Ginzburg’s adopted daughter).

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Evgeniia Ginzburg in her Moscow apartment, 1968.

Evgeniia Solomonovna Ginzburg (1904-1977) was a journalist and teacher who wrote an acclaimed autobiographical account of her 18-year journey through the Stalin GULAG. Ginzbrug’s epic story, which has been translated into many languages, was published in English in two volumes: Journey into the Whirlwind (1967) and Within the Whirlwind (1981). To this day her work remains one of the most significant and widely-read women’s memoirs about life and death in the Stalin camps.

Born in the Kolyma camps in 1946, Antonina Pavlovna Axenova was adopted by Ginzburg in 1949. Axenova later became a theater and movie actress. She has also worked tirelessly collecting materials to preserve the memory and legacy of her mother.

The exhibit is timed to coincide with a visit to Notre Dame by Antonina Axenova and the filmmaker, Mario Damolin, who premiered his new documentary film about Evgeniia Ginzburg entitled Tightrope Walk on November 5 at the DeBartolo Performing Arts Center.

More than 7 boxes constitute the archive which consists of documents, letters, photographs, and some manuscripts relating to Ginzburg’s arrest and her life in the camps as well as materials about Axenova’s professional life. The finding aid is near completion and will be accessible to researchers in the near future.

The exhibit is curated by Ken Kinslow, Manuscripts Processing Librarian, and is open to the public 9:00am to 5:00pm, Monday through Friday, through December 11, 2015.

Recent Acquisition: A Calendar Leaf for May

by Dr. David T. Gura, Curator, Ancient and Medieval Manuscripts

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Notre Dame (Ind.), Univ. of Notre Dame, Hesburgh Library, Frag. I. 33

A newly acquired fragment (Frag. I. 33) provides a representative specimen of a historiated calendar from a fifteenth-century book of hours from France. The leaf contains the feast days of saints and other liturgical celebrations for the month of May. The entries are written in French using a double-graded system which invokes a deluxe presentation with a utilitarian element. Feasts written in gold are celebrated at a higher grade (e.g. as a solemnity) than the others. Those written in red and blue inks are celebrated at the same level, and the colors alternate purely for aesthetic purposes.

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Dentelle initial KL marking the Kalends of May (first of the month). Frag. I. 33 (detail)

The outer border is decorated with black and gold rinceaux and contains acanthus leaves and other floral motifs. A similar piece border sprays from the initials KL in the upper inner margin (for Kalends, Latin for the first day of a month—hence our term ‘Calendar’).

The labors for the month of May are those of the nobility: courtly love and falconry. The lower margin features a miniature (below) which depicts both activities. The two lovers on horseback are engaged in courtship while on the hunt. The man holds a green branch, a symbol of fertility. A white hunting dog follows the couple closely on the ground, and the man’s falcon is perched on his left hand.

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Though a product of biblioclasty from a period unknown, Frag. I. 33 still retains aspects which provide clues to its place of origin and location of use. For example, the Translation of the relics of St. Ouen celebrated on May 5 points towards the diocese of Rouen, which is located in the region of Upper Normandy. St. Ouen—also known as Audoin, Audoenus, or Dado—became bishop of Rouen in 641, and died in the last decades of the seventh century. A Gothic church bearing his name (the Basilica of St. Ouen) still stands in the city of Rouen.

 

Bibliography: David T. Gura, A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and Saint Mary’s College. Forthcoming 2016.

 


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