Rare Books & Special Collections will continue to provide service via virtual access to expertise and online/digital resources in support of teaching and learning. During this time, our expertise and services are just a phone call, email, or Zoom consultation away. We invite you to consult with us as often as needed.
All tours and in person classes are currently suspended.
The story behind the statues is well known: a young CSC priest, William Corby, offered a general absolution to members of the Irish Brigade, part of the Second Corps of the Union’s Army of the Potomac, minutes before the soldiers engaged in fierce fighting late on the second day of the battle at Gettysburg (July 2, 1863).
Corby served as chaplain to the 88th New York Infantry, which was part of the famous Irish Brigade. This group of soldiers were mostly Irish and Irish-American Catholics from New York and Philadelphia who were formed from five regiments: three from New York (the 69th Infantry, 63rd Infantry, and 88th Infantry), the 28th Massachusetts Infantry, and the 116th Pennsylvania Infantry. After the war Corby returned to the University of Notre Dame where resumed his teaching position; he later became the school’s president.
The priest had given general absolution to his flock of mostly Irish Catholic soldiers before, most notably at Antietam in September 1862, just before the brigade suffered heavy casualties. But this time, as fighting raged around the soldiers at Gettysburg, when Corby climbed up on a boulder and spoke, not just the Irish Brigade but the whole Second Corps fell silent. It was a moment that many officers and soldiers remembered later. For many Catholics it came to mean recognition, if not full acceptance, by their non-Catholic fellow Americans.
Less well known is how the statues materialized. The Catholic Alumni Sodality of Philadelphia spearheaded the project and reported it in this pamphlet. The sodality had been formed in 1902 to promote faith and collegiality among Catholic men who were college graduates. The sodality implemented the statues’ financing and creation, but it acted on an idea of St. Clair Mulholland, commander of the 116th Pennsylvania Infantry Regiment and witness to Corby’s actions at Gettysburg.
The Irish-born Mulholland was just 23 years old when he began serving as a Lieutenant Colonel of the 116th Pennsylvania Infantry in 1862. He fought in some of the war’s major battles, including Fredericksburg, Chancellorsville, Spotsylvania Court House, Cold Harbor, and of course, Gettysburg.
After the war Mulholland dedicated himself to commemorating Civil War soldiers, particularly the Irish Brigade. In 1888 he led the initiative to raise a monument to the brigade at Gettysburg. The Alumni Sodality of Philadelphia embraced the idea of creating a memorial to Corby only after a member heard Mulholland speak movingly about the incident. It was a speech the old soldier had given countless times over the years.
The sodality hired sculptor Samuel Murray to create the monument. It was placed at Gettysburg, amid an extensive program of speeches and dignitaries, on October 29, 1910. A replica, created by the artist, was mounted on Notre Dame’s campus on Decoration Day (now called Memorial Day), 1911.
Mulholland and the sodality were not unique in remembering those who served. Between the end of the war and the 1930s thousands of Civil War monuments rose around the nation. As we have seen in recent disputes over monuments in the United States, public statues have multiple uses and their meanings change over time. Monuments evoke the past even as they convey contemporary expectations about class, race, gender, and religion.
As this pamphlet reminds us, Corby’s memorialization was about more than the priest’s service. It created a narrative of Catholic loyalty and patriotism at a time when American nativism was again on the rise, sparked by large immigration from southern and eastern Europe. By focusing on a priest rather than on Catholic soldiers, the statue’s creators deemphasized the larger Irish Catholic experience of the war, fueled as it was by a mix of American patriotism, Irish Republicanism, and economic need. The image reinforced instead a message of cleric-led, middle-class Irish American respectability. 
 Randall M. Miller, “Catholic Religion, Irish Ethnicity, and the Civil War,” in Religion and the American Civil War, Randall M. Miller, Harry S. Stout, and Charles Reagan Wilson, eds., (New York: Oxford University Press, 1998), 285-86.
A happy Memorial Day to you and yours from all of us in Notre Dame’s Special Collections!
In this digital exhibit, the curators, Erika and Julie, recreate the physical exhibit, including the unaltered text from the information cards as well as the accompanying rhino cards geared towards kids. They also offer a candid statement about their intent for the exhibit and how the COVID-19 pandemic disrupted it. Paws, Hooves, Fins, and Feathers Digital documents this project in its entirety, from conception through planning, installation, and outreach.
Erika and Julie welcome questions about their original intentions and about how they made adjustments in light of the restrictions created by the COVID-19 outbreak. They would also like to hear from others who have undergone similar experiences or who are interested in doing something similar.
All of us in Rare Books and Special Collections send our best wishes to all of the 2020 graduates of the University of Notre Dame.
We would particularly like to congratulate the following students who have worked in the department:
Eve Wolynes (ND ’20), Ph.D., Department of History. Her dissertation is titled Migrant Mentalities: Reconstructing the Community Identity and World of Venetian Merchants in the Late Medieval Mediterranean.
Hannah Benchik (SMC ’20), Bachelor’s in Business Administration from Saint Mary’s College, with a minor in German from Notre Dame.
Jessica Saeli (ND ’20), Bachelor’s, double major in Philosophy and Russian.
The anthology Living Hiroshima: Scenes of A-Bomb Explosion with 378 Photographs Including Scenery of Inland Sea (1948) was planned and published by the Hiroshima Prefectural Tourist Association for the purpose of introducing images of post-war Hiroshima to the world. The production was handled by Bunkasha (formerly Tōhōsha, which had published propaganda materials for the Japanese military during the war). Most of its photos were taken in 1947 by three Bunkasha photographers, two of whom also had formerly worked for Tōhōsha. The anthology also includes photos taken in 1945 by Kimura Ihē, the former head of the Photography Department at Tōhōsha.
Although published under U.S. military censorship during the American Occupation, the anthology is a rare and valuable documentation of the devastation and the recovery of the city from the bombing.
Throughout the 15th century, outbreaks of the bubonic plague frequently occurred in the city of Florence. The most severe of these epidemics, or plagues, struck in 1430, 1437-38, 1449-50, and 1478-80.
Following the last of these devastating outbreaks, the philosopher and physician Marsilio Ficino composed the treatise Consiglio contro la pestilentia (alternatively, Consiglio contro la pestilenza, or Advice against the Plague), a text that would remain influential for nearly three centuries. Intended to be of practical use, the treatise was initially published in Italian in 1481, and subsequently published in Latin in 1518. Rare Books & Special Collections owns a copy printed in 1556 by the heirs of Lucantonio Giunti, part of the famous Giunti (or Giunta) family of printers. This 1556 reprint attests to the longstanding popularity and continued relevance of the vernacular text.
Consiglio contro la pestilentia opens with initial chapters concerning the origins of the disease and recognizing its signs, with the remaining text then devoted to preventative measures and cures. Some portions of the treatise, including the advice to avoid contaminated spaces and seek out fresh air, are still relevant to us today. Other recommendations, such as the guidance to consume crushed emeralds as apotropaic medicine (or, if unaffordable, horseradish), we might best avoid. Also mentioned is the idea that the plague wanes within forty days, or quaranta giorni, the etymological root of the English word quarantine.
A complete copy of this text from the same edition as that owned by Notre Dame has been digitized by the Biblioteca Nazionale Centrale di Roma and is available online via Google Books. This particular edition is a reprint of that published in Florence in 1522, to which are appended tavole or indexes by topic; an espositione d’alcuni vocaboli toschani, or explanation of Tuscan vocabulary as found in the text; and a brief section titled Segreto & rimedio contro la peste, or Secrets and Remedies against the Plague. It also includes the treatise Consiglio di M. Thomaso del Garbo Fiorentino contro la pestilentia, which initially circulated in the mid to late 14th century. These additions would have helped contemporary readers understand and give context to Ficino’s text.
In celebration of the 50th anniversary of Earth Day—April 22, 2020—Rare Books and Special Collections offers an online exhibition, Describing, Conserving, and Celebrating the Earth: Primary Sources from Hesburgh Libraries. It displays sources about the earth in science, culture, public policy, and politics, from the 1750s to 2004. In keeping with the American origins of Earth Day in 1970 and the EPA, these sources are primarily from an American context.
Each section holds a primary source or group of sources that reflect different periods, kinds of materials (books, illustrations, posters, reports, etc.), and approaches to studying, appreciating, and preserving the earth. The library’s Rare Books and Special Collections resources are where some of these items come from; others are government documents that are available in the open stacks of Hesburgh Library (when the library’s print collection reopens).
A mid-eighteenth-century British naturalist’s illustrated description of wildlife and plant life in the American colonies.
The first issue of the Sierra Club Bulletin, a nature enthusiast’s magazine focused on the western United States.
A late nineteenth-century botanist’s findings, published in an early scientific journal.
A World War II poster by the United States Forest Service, urging people to preserve forests.
A mid-century warning about human damage to wildlife in the United States.
Examples of federal conservation before the advent of the Environmental Protection Agency (EPA): a conference report on pollution in the Lake Michigan watershed, and an international commission’s findings about pollution levels in boundary waters between Canada and the US.
A compilation of environment-inspired poems, published a few years after the first Earth Day.
An Earth Day-inspired speech by actor and environmentalist Eddie Albert.
Two EPA publications: an early catalog of agency-sponsored training programs for professionals responsible for pollution control, and a 2004 brochure about the conservation of the Chesapeake Bay.
In 1911, a new group of artists who called themselves Der Blaue Reiter organized its own exhibition and published an almanac also named Der Blaue Reiter. Edited by Wassily Kandinsky and Franz Marc and published by Reinhard Piper in Munich, this volume contains a wide range of contributions including theoretical treatises on artistic form, vocal scores, children’s drawings, and illustrations of sculpture.
The formation of this group stemmed from an event involving Kandinsky. Wassily Kandinsky (1866-1944), the Moscow native who was among the pioneers of abstract art, composed ten works between 1910 and 1939 that he considered to be his most important paintings. These ten paintings constitute his Compositions of which seven survive; the first three were destroyed during the Second World War. The artist’s guiding principle for each of these works was what he called the “expression of feeling” or “inner necessity,” a combination of “perceptions that arise from the artist’s inner world [and] . . . the impressions the artist receives from external appearances.” (1) In these paintings, Kandinsky explored the manipulation of color and form, emphasizing the artist’s process of creation and “pure” painting.
During the process of creating Compositions, Kandinsky submitted Composition V (1911) to the Neue Künstlervereinigung (NKV) to be considered for inclusion in the NKV’s third exhibition in 1911. The NKV jury rejected his work on the grounds that it was too large though the rejection probably represented the opinions of a faction within this group who opposed Kandinsky’s experimentation to represent spiritual values in a new way. (2) Upon his work being rejected, Kandinsky along with Franz Marc and Gabriele Münter left the NKV. Joined by others including Paul Klee, August Macke, and Marianne von Werefkin who also rejected the NKV’s traditionalism, these artists founded Der Blaue Reiter (The Blue Rider).
Special Collections’ copy of the 1912 printing of Der Blaue Reiter is one among a few works acquired related to German Expressionism. These acquisitions were made in collaboration with faculty in the German Department to support the undergraduate courses they teach. Notable among these works are:
Gottfried Benn, Söhne: neue Gedichte (Berlin-Wilmersdorf: A.R. Meyer Verlag, 1913). Rare Books Small PT 2603 .E46 S57 1913
Bertolt Brecht, Hauspostille (Berlin: Im Propyläen-Verlag, 1927). Rare Books Medium PT 2603 .R397 H3 1927
(1) Magdalena Dabrowski. Kandinsky Compositions (New York: Museum of Modern Art, 1995), p. 11. Accessed April 12, 2020, https://hdl.handle.net/2027/mdp.39015034282809 (\Access provided through HathiTrust Emergency Temporary Access Service).
(2) Shearer West, The Visual Arts in Germany, 1890-1937: Utopia and Despair (New Brunswick, N.J.: Rutgers University Press, 2001), p. 65.
While the Irish Studies collection in the Hesburgh Libraries has grown considerably in recent decades, one of the enduring treasures, and the collection most often inquired about, is the O’Neill Collection. This is the personal library of Francis O’Neill, the famous collector of Irish music who was once Chicago’s Chief of Police.
Francis O’Neill (1848-1936) left Ireland in his teens, travelled the world as a sailor, settled in America and after first qualifying as a teacher in Missouri, moved to Chicago where he joined the police force in 1873. By all accounts a larger-than-life figure, he was well-known both as a police officer and as one of the major experts on Irish traditional music.
Sometime in the later 1880s… Francis O’Neill began to realize that there was yet much Irish traditional music to be collected and preserved that had escaped earlier collectors. He recruited James O’Neill to the project of collection and started to visit him regularly … so that the tunes remembered from Francis’ childhood in Cork could be noted down from his dictation in a private manuscript collection… [i]
As months and years passed and word of their enterprise spread others contributed tunes to the collection and James O’Neill began visiting musicians in their homes to note their music.
Nicholas Carolan goes on to describe how O’Neill’s project developed, his publication of O’Neill’s Music of Ireland (1903) and his other books, and of the enduring legacy of these books.
For generations of musicians who play Irish traditional music, O’Neill’s books are perceived as essential. Carolan aptly named his book ‘A Harvest Saved’ as O’Neill collected at a time and place where people had left the communities in which the music had thrived. The 75,000 Irish immigrants in Chicago carried with them the music of many parts of Ireland, and O’Neill was able to tap into the rich repository of their tunes and record them for posterity.
O’Neill was following in the footsteps of important collectors such as Edward Bunting and George Petrie, many of whose books are in O’Neill’s collection and bear pencilled annotations indicating his careful study of the contents.
This book is one of the most important works in the history of Irish music collecting. Edward Bunting began his life-long interest in the collection of Irish harp-music in 1792. He notated the music of performers at the Belfast Harp Festival that year, and this inspired him to continue for many years in his collection and study of Irish harp music.
The O’Neill Collection includes also Bunting’s two later collections, published in 1809 and 1840. O’Neill’s pencilled notes can be seen in the margins of these books.
The O’Neill Collection includes important works from Scotland including Orpheus Caledonius by William Thompson, one of the earliest published collections of Scottish songs. First published in two volumes in 1725, our O’Neill copy is volume I only of the 1733 edition. This copy has pencil annotations either by O’Neill or by an earlier reader. It also includes a subscribers list, which is not included in the facsimile edition published in 1962.
When Chief O’Neill offered his library to the University in 1931, he described it as having a ‘Hiberniana’ collection and a music collection. In each case, his library was exceptional. Our O’Neill Collection includes a valuable selection of books on Irish history and antiquities, and in the music section, a collection of many well-known collections of Irish music, along with lesser-known books of dance music, and books on the music and instruments of Ireland, England and Scotland in particular.
Hoping to bring the O’Neill Collection to enthusiasts who cannot visit the Hesburgh, we selected thirty of the rarest books from the collection for digitization. We plan to share these digital collections in a number of ways — the Internet Archive being one — making it possible to study the books anywhere in the world.
The lion above is featured in the second edition of Michael Bernhard Valentini’s Amphitheatrum zootomicum (1742), currently on display in the Spring ’20 exhibit.
A few thoughts from Julie, one of the curators stuck at home.
For our diehard fans who anxiously await 9:00am (EDT) to see what fascinating piece we’ve put up, I have some sad news. We’re a bit late today.
Being removed from our collections and separated into our remote offices—and for me, staring out the window at a gloomy gray sky—are posing some challenges such as keeping track of what day of the week it is.
I know all us at RBSC would prefer being back in the office, but for now we’re dong our best. Look for news in the not too distant future about a digital version of the exhibit Erika and I curated, Paws, Hooves, Fins, and Feathers: Animals in Print, 1500-1800. It’s underway. Here’s what I’m working from:
You’ll notice the image quality is not up to our normal standards.
Fortunately, I have a Word doc with the text for the exhibit labels and Sara’s been dealing with the joys (that is, the s-l-o-w-n-e-s-s) of accessing our archival images on the server.
So, please, I hope you find a bit of amusement in my morning musing as I drain another cup of coffee and deal with my cat being annoyed because I’m home when I’m normally not.
Keep in mind, we’re still functioning as a remote department, so if you have questions, feel free to drop any of the curators an email or one to our awesome front line staff at firstname.lastname@example.org.
We join the Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution and United States Holocaust Memorial Museum in commemorating and encouraging the study, observance and celebration of the vital role of women in American history by celebrating Women’s History Month.
In commemoration of Women’s History Month, RBSC highlights Mary Taussig Hall (1911-2015). Hall was a social worker, and an activist for child welfare, civil rights, and peace, from St. Louis, Missouri. Her career spanned most of the twentieth century and shaped social services policy in Missouri and the nation. As a lifelong advocate for peace, Hall’s reach extended internationally: as a member of the Women’s International League for Peace and Freedom and the United Nations Association in St. Louis.
Arielle Petrovich (Hesburgh Library’s Instruction & Outreach Archivist and Librarian-in-Residence) created a Special Collections spotlight exhibition on Hall for Women’s History Month. Because of the Coronavirus that exhibit is currently closed, so we share highlights and photographs from the show here:
Women’s Peace Party, St. Louis, secretary’s minutes, 1915-1916
In 1915, Progressive social reformer Jane Addams co-founded the Woman’s Peace Party (WPP), a pacifist organization established in response to the First World War. Florence Gottschalk Taussig, Mary Taussig’s mother, a political activist and a close friend of Addams, chaired the St. Louis chapter of the WPP. Local meetings centered on planning of educational speaking engagements and membership recruitment. (Mary Taussig Hall Papers, MSN/MN 0511, Box 7, Folder 200)
Jane Addams letter to Mary Taussig, 10 May 1933
After graduating from Bryn Mawr College in 1933, Mary Taussig was invited by Jane Addams to work as her private secretary and to volunteer at Hull House in Chicago. Addams had established Hull House to support recently-arrived immigrants to the city. Eventually it offered childcare for working mothers, job training, and other services. Mary eventually returned to St. Louis for a graduate degree in social work at Washington University, where she took up the cause of child labor reform among lead miners in Missouri. (MSN/MN 0511, Box 5, Folder 132)
FDR telegram to Florence and Mary Taussig, 1936
President Franklin D. Roosevelt sent this holiday telegram to Mary Taussig and her mother to thank them for their support during his reelection campaign that fall. As part of the affluent elite in St. Louis, Taussig and her mother’s social peers generally did not support FDR’s New Deal economic reforms or vote Democratic. Roosevelt applauded both women for maintaining their party loyalty. (MSN/MN 0511, Box 6, Folder 185)
The Women’s International League for Peace and Freedom pamphlets, 1950s and undated
After World War One the Women’s Peace Party became the Women’s International League for Peace and Freedom (WILPF). Florence Gottschalk Taussig served on its national board and Mary Taussig Hall eventually chaired a joint committee to commemorate the centennial of Jane Addams’ birth in 1960. After World War Two the WILPF’s work broadened to include world disarmament, racial integration, civil rights, and international peace. (“Billions of Dollars…for What?” Pamphlet, c. 1955; “Integration” Pamphlet, c. 1958; and “The ABC’s of Civil Rights” Pamphlet, undated — all from MSN/MN 0511, Box 7, Folder 210)
The Mary Taussig Hall Papers also document Taussig Hall’s commitments to peace and disarmament in her personal correspondence. In a July 1933 letter to her parents, while she was working at Hull House, Taussig exclaimed, “I want so badly to follow in your footsteps Mum—and really play an important part in the W.I.L. [Women’s International League for Peace and Freedom]. I’m going to work at the Peace booth out at the Fair [1933 Chicago World’s Fair] too—won’t that be fun?”
Nearly thirty years later Taussig Hall received a personal note in a letter from Guy W. Solt, a staff member at the American Friends Services Committee in Philadelphia. On 29 June 1960 he wrote, “War is obsolete. But beyond the abandoning of war there remains the far more magnificent achievement of creating a strong spiritual bond between the peoples of the earth, and especially between the white and the colored peoples. Surely it is God’s plan that we live as one people. . . . I close with this quotation from above the door of a Catholic church in Boston: ‘Send forth thy spirit, and it shall be created, and thou shalt remake the face of the earth.’”