Tag: manuscripts

Welcome Back! Spring 2025 in Special Collections

Rare Books and Special Collections welcomes students, faculty, staff, researchers, and visitors back to campus for Spring ’25! Here are a variety of things to watch for in Special Collections during the coming semester.

Special Collections Welcomed Two New Curators in the Fall 2024 Semester

Matthew Knight and Payton Phillips Quintanilla bring subject matter expertise in Irish Studies and Latin American and Iberian Studies.

In addition to stewarding the Hesburgh Libraries’ Irish Studies collections in both general and specialized collections, Knight works with other University faculty members to foster the use of these materials broadly across campus within the larger field of Irish Studies teaching and instruction.

The new Irish Studies Librarian and Curator brings deep expertise in the field of Irish Studies, teaching, and librarianship, including in special collections. He previously served as an Associate Librarian at the University of South Florida and holds an M.A. and Ph.D. in Celtic Languages and Literatures from Harvard University in addition to an M.A. in Library Science from the University of South Florida.

Phillips Quintanilla is responsible for stewarding the Libraries’ Latin American and Iberian Studies collections in both general and specialized collections. She works within the Libraries and across campus to foster the use of the collections broadly within the fields of Latin American Studies and Iberian Studies teaching and instruction. She also supports Latino Studies students and faculty in collaboration with Rachel Bohlmann, American History Librarian and Curator of North Americana.

Phillips Quintanilla brings deep expertise in the field of Latin American and Iberian Studies and teaching, as well as experience in the cultural heritage sector — particularly in areas of provenance and the stewardship of special collections. Before joining the Hesburgh Libraries faculty, she worked as a Research Specialist in the Pre-Hispanic Art Provenance Initiative at the Getty Research Institute. The new librarian and curator holds a Ph.D. in Hispanic Languages and Literatures with a specialization in transatlantic early modern literatures and cultures, as well as an M.A. in Spanish from the University of California, Los Angeles (UCLA), a Master of Professional Writing from the University of Southern California, and a B.A. in Urban and Environmental Policy from Occidental College.

Read the full press release on the Hesburgh Library website.

Fall 2024 Exhibition — Notre Dame Football Kills Prejudice: Citizenship and Faith in 1924

Continuing through the end of January.

“Notre Dame football is a new crusade:
it kills prejudice and stimulates faith.”

— Rev. John F. O’Hara, C.S.C., Prefect of Religion,
Religious Bulletin, November 17, 1924

In the fall of 1924, the University of Notre Dame found great success on the football field and confronted a dangerous and divisive political moment. The undefeated Fighting Irish football team, cemented forever in national memory by Grantland Rice’s legendary “Four Horsemen” column, beat the best opponents from all regions of the country and won the Rose Bowl to claim a consensus national championship. Off the field, Notre Dame battled a reactionary nativist political environment that, in its most extreme manifestation, birthed the second version of the Ku Klux Klan. Sympathizers of this “100% Americanism” movement celebrated white, male, Protestant citizenship and attacked other groups—including Catholics and immigrants—who challenged this restrictive understanding of American identity.

In the national spotlight, Notre Dame leaders unabashedly embraced their Catholic identity. They consciously leveraged the unprecedented visibility and acclaim of the football team to promote—within the very real political constraints of the era—a more inclusive and welcoming standard of citizenship. Attracting a broad and diverse fan base, the 1924 national champion Fighting Irish discredited nativist politics and helped stake the claim of Notre Dame—and Catholics and immigrants—to full citizenship and undisputed Americanness.

Curated by Gregory Bond (Curator of the Joyce Sports Research Collection, Rare Books and Special Collections) and Elizabeth Hogan (Senior Archivist for Photographs and Graphic Materials, University Archives).

Spring 2025 Exhibition — Tragedies of War: Images of World War II in Print Visual Culture

Opening mid-February.

Based predominantly on recently acquired Rare Books and Special Collections European holdings, the exhibition commemorates the end of the Second World War (1939-1945) and explores a diverse assortment of themes including Nazi racial ideology, the Holocaust, Children in War, Resistance, Liberation, and Memories of War. By examining these topics through images created for personal use by ordinary people and for state-sponsored propaganda purposes, the exhibit presents a visual narrative of the war’s profound impact on individuals and societies, offering deeper insight into how war was experienced and remembered.

Curated by Natasha Lyandres (Curator, Rare Books & Special Collections), Jean McManus (Catholic Studies Librarian, University Archives) and Julia Schneider (German Language and Literature and Italian Studies Librarian, Hesburgh Libraries).

Spring Spotlight: Building a Campus Boycott to Support Midwestern Farmworkers

Opening end of January.

In 1980, the University of Notre Dame became the first major university to boycott Campbell Soup products in support of Midwestern farmworkers represented by the Farm Labor Organizing Committee (Toledo, OH). In a few short months, a small and dedicated cohort of students tapped into a growing movement and convinced the campus to act in solidarity.

Curated by Emiliano Aguilar (Assistant Professor of History, University of Notre Dame, and Faculty Fellow, Institute for Latino Studies).

These and other exhibits within the Hesburgh Libraries are generously supported by the McBrien Special Collections Endowment.

All exhibits are free and open to the public during regular hours.

Special Collections’ Classes & Workshops

Throughout the semester, curators will teach sessions related to our holdings to undergraduate and graduate students from Notre Dame, Saint Mary’s College, and Holy Cross College. Curators may also be available to show special collections to visiting classes, from preschool through adults. If you would like to arrange a group visit and class with a curator, please contact Special Collections.

Upcoming Events

Thursday, January 16 at 5:00pm | The Spring 2025 Italian Research Seminar and Lectures will begin with a lecture by 4th-year Ph.D. student in Italian Rookshar Myram (University of Notre Dame) titled: “Forging Effigies in the Commedia: Deification as Artistry.”

Learn more about this and other Events in Italian Studies.

Recent Acquisitions

Special Collections acquires new material throughout the year. Watch this blog for information about recent acquisitions.

Some of the recent acquisitions highlighted on the blog.

Unfolding and Understanding a Medieval English Charter

by Anne Elise Crafton, PhD, RBSC Postdoctoral Research Fellow, Hesburgh Libraries

As the 2024-2025 Rare Books and Special Collections Postdoctoral Research Fellow, I learn something new about the Hesburgh Library’s diverse collections every day. This is especially true of my primary research project: the description and arrangement of the library’s hitherto uncatalogued collection of medieval and early modern charters. The collection includes both public and private documents – primarily concerned with land and land-based transactions – spanning eight centuries and three countries (England, France, and Italy), though the majority are of English origin.

Many of the medieval English charters were part of the vast documentary collection of famous antiquarian and bibliophile, Sir Thomas Philipps (d. 1872). In fact, the iconic “Philipps Numbers” which he used to identify the over 40,000 documents in his collection are still visible on the exterior of many of the charters in the Hesburgh Library’s collection.

Image taken by Jen Hunt Johnson, Special Collections Conservator.

This Lincolnshire charter was evidently the 30,607th document to join the extensive Philipps collection. After his death, the collection was eventually disbanded and sold. Now, libraries across the world hold small portions of the once massive collection. Of the Hesburgh Library’s collection of charters, at least thirty-five were once owned by Sir Thomas Philipps.

Philipps was not the first person to annotate these charters before they arrived at the Hesburgh Library. In the Middle Ages, after the transaction was complete, the parties involved would add their personal seals and tightly fold the charter recording the event using a method known as “docketing.” This collection of charters was received in their original docketed form and are currently being flattened for ease of access by Hesburgh Library’s Special Collections Conservator Jen Hunt Jonson. The photos in this post were taken during that ongoing process.

Once docketed, a scribe would label the document, naming the location of the land in question, names of the parties, or the date. If no medieval label existed, early modern archivists might inscribe a label according to their own filing systems.

Images taken by Jen Hunt Johnson, Special Collections Conservator.

This next charter from the collection, for example, still retains a medieval wax pendent seal bearing an “S” and the word “Ughill,” a small town in Sheffield, Yorkshire, in an early modern hand. This corresponds with the text on the interior, which tells us in Latin that a Richard Schagh granted a tenement in “Ugilwode” to a Thomas Curton in 1377.

Image taken by Jen Hunt Johnson, Special Collections Conservator.

A third charter in the collection also bears an early modern inscription which reads, among other notes, “Without Date.” This is true. The text inside does not include the date of signing, though this is not particularly unusual for medieval English charters. Using modern resources and research, however, it is possible to ascertain a general date of origin.

Image taken by Jen Hunt Johnson, Special Collections Conservator.

This particular charter is a “feoffment” – an exchange of land for a pledge of service – between Thomas Furnival, son of Thomas Furnival, and John Witely, son of John Witely concerning lands in “Wiggethuysel” (Wigtwizzle, near Sheffield, Yorkshire). All in all, this charter is extremely typical of medieval English charters; the names “Thomas” and “John” are common medieval names and the contract between them is nothing special. The handwriting – a popular medieval English script known as “Cursiva Anglicana” – only tells us that the charter is medieval and English. There are few clues in the physical material of the charter – like many medieval charters, this document is small, made of soft parchment, and stained with wax.

There is, however, a clue in the surname “Furnival” (highlighted in yellow below). In the mid-fourteenth century, the Furnivall family was granted the Barony of Sheffield, Yorkshire and raised to minor nobility. As nobility, the Furnivall family kept detailed genealogical records dating back to the twelfth century.1 Based on these records, we find that there were two “Thomas, son of Thomas” Furnivalls, the first of whom died in 1279, and the second in 1348. This suggests that this document is either from the late thirteenth or early fourteenth century.

We can specify further. Among the witnesses listed in the charter, there is a “Lord Elias Middehop” (in red) and “Robert Rus of Anesacre [Onesacre]” (in blue). According to a catalogue of Sheffield charters, the same Elias Middehop witnessed a separate charter for a Thomas, son of Thomas Furnivall, sometime between 1267-1279.2 Additionally, according to a genealogy of important Yorkshire families, in the late thirteenth century, the daughter of a “Sir Elias Middehop” married the grandson of a “Sir Robert Rus of Onesacre.”3 Altogether, this evidence suggests that the Hesburgh Library charter is probably dated to the late thirteenth century, likely between 1250-1279.

Each charter in the Hesburgh Library collection has similarly rich historical puzzles to unwind. Once catalogued, the collection will be made available for use by students and researchers alike.  

 

Footnotes

1. John Burke, A general and heraldic dictionary of the peerages of England, Ireland, and Scotland, extinct, dormant, and in abeyance, (London, H. Colburn and R. Bentley, 1831), 215-217. Special Coll. Reference • CS 422 .B84 1831

2. Walter Hall, Sheffield and Rotherham from the 12th to the 18th Century: A Descriptive Catalogue of Miscellaneous Charters and Other Documents Relating to the Districts of Sheffield and Rotherham with Abstracts of Sheffield Wills, proved at York from 1554 to 1560 And 315 Genealogies Deduced Therefrom, (Sheffield: J. W. Northend, 1916), 210.

3. Joseph Foster, Pedigrees of the County Families of Yorkshire, v. 2 (London: W. Wilfred Head, P L O U O H Court, Fetter Lane, E.G., 1875), 281-282.

Upcoming Events: December 2024

Please join us for the following public events and exhibits being hosted in Rare Books and Special Collections:

Thursday, December 5 at 5:00pm | Italian Research Seminar: “A Reckless and Scandalous Doctrine: Matthias Ferchius, a Franciscan in the Index” by Eva Del Soldato (University of Pennsylvania).

The exhibition Notre Dame Football Kills Prejudice: Citizenship and Faith in 1924 is now open and will run through the end of January 2025.

Tours of the exhibit may be arranged for classes and other groups by contacting Greg Bond at gbond2@nd.edu.

The current spotlight exhibits are Wollstonecraft: Revolution & Textual Evidence (September–December 2024) and A Fourteenth-Century Chanson de Geste Fragment (September–December 2024).

RBSC will be closed during the University of Notre Dame’s Christmas and New Year’s Celebrations,
December 21, 2024 – January 1, 2025.

Upcoming Events: November 2024

Please join us for the following public events and exhibits being hosted in Rare Books and Special Collections:

Thursday, November 7 at 5:00pm | Italian Research Seminar: “Literary Celebs: Amalia Guglielminetti, Guido Gozzano and the Price of Fame” by John Welle (University of Notre Dame).

Thursday, November 21 at 5:00pm | Italian Research Seminar: “The Activism of Imagination: Fictions of Europe Between Utopia and Disenchantment” by Nicoletta Pireddu (Georgetown University).

The exhibition Notre Dame Football Kills Prejudice: Citizenship and Faith in 1924 is now open and will run through the end of January 2025.

Curators Gregory Bond and Elizabeth Hogan will host exhibit open houses on select Friday afternoons before Notre Dame home football games, including on November 8 and November 15. The drop-in open houses will run from 3:00–4:30pm and will feature brief remarks by the curators at 3:15pm.

Tours of the exhibit may be arranged for classes and other groups by contacting Greg Bond at gbond2@nd.edu.

The current spotlight exhibits are Wollstonecraft: Revolution & Textual Evidence (September – December 2024) and A Fourteenth-Century Chanson de Geste Fragment (September – November 2024).

RBSC will be closed during the University of Notre Dame’s Thanksgiving Break, November 28 – 29.

Upcoming Events: October 2024

Please join us for the following public events and exhibits being hosted in Rare Books and Special Collections:

Thursday, October 3 at 5:00pm | Italian Research Seminar: Dante’s Chorographies: From the Territory to the Comedy” by Giovanna Corazza (Cà Foscari University of Venice).

The exhibition Notre Dame Football Kills Prejudice: Citizenship and Faith in 1924 is now open and will run through the end of January 2025.

Curators Gregory Bond and Elizabeth Hogan will host exhibit open houses on select Friday afternoons before Notre Dame home football games, including on October 11, November 8, and November 15. The drop-in open houses will run from 3:00–4:30pm and will feature brief remarks by the curators at 3:30pm in October and 3:15pm in November.

Tours of the exhibit may be arranged for classes and other groups by contacting Greg Bond at gbond2@nd.edu.

The October spotlight exhibits are Wollstonecraft: Revolution & Textual Evidence (September–December 2024) and A Fourteenth-Century Chanson de Geste Fragment (September–November 2024).

RBSC will be open regular hours (9:30am–4:30pm) during the University of Notre Dame’s Fall Break, October 19 – 27.

Remembering Louise Stokes and Tidye Pickett, African American Pioneers at the 1932 Olympics

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

When they qualified for the 1932 Los Angeles games sprinters Louise Stokes and Tidye Pickett were the first African American women to make the United States Olympic team. Based on their strong times at the Olympic trials, Stokes and Pickett were named to the pool of six women that would be chosen for the 4×100 relay team (in those years the final official team was chosen a short time prior to the actual competitions).

The 18-year-old Stokes (from Malden, Massachusetts) and 17-year-old Pickett (from Chicago) were the only African Americans on the U.S. women’s team. But a large contingent of women athletes was, itself, relatively new. Only a few women had appeared in the first several Olympics. Starting with the 1928 games, though, the International Olympic Committee sanctioned women’s competition in a broader range of events, including more strenuous activities like track and field

The Fred L. Steers Papers in the Joyce Sports Research Collection holds manuscript material that documents the 1932 Los Angeles Olympics experience of Stokes, Pickett, and their teammates. Steers, a track athlete and 1911 graduate of Notre Dame, worked as a lawyer in Chicago and was a long-time administrator for the Amateur Athletic Union and the American Olympic Committee, the forerunner of the modern United States Olympic Committee. During the 1928, 1932, and 1936 Olympics, Steers was the Manager of the United States Women’s Track and Field Teams where he was in contact with the two African American women Olympians.

Historians who have written about Stokes and Pickett note that they frequently faced discrimination during their time on the Olympic team. Their own teammates sometime hazed them. They also routinely encountered the color line and were often not allowed to eat with the rest of the team—including in the dining room of the team hotel in Los Angeles.

Nevertheless, due to their fast qualifying times Stokes and Pickett had originally been expected to be members of the final American 4×100 relay team. Before the event, however, athletic administrators reshuffled the lineup and replaced the African Americans with two of their white teammates. The Chicago Defender, one of the country’s most influential African American newspapers blamed “this bit of back room treachery” on “lily-whiteism” and reported that “the injustice of this move is being placarded by track followers out here but to no avail” (“Tydia Pickett May Lose Olympic Spot,” Chicago Defender 30 July 1932, p. 8). 

Unfortunately, the Steers Papers does not contain any additional information about the decision to bench Stokes and Pickett. But the collection does include documentation about their presence with the U.S. Olympic team. One of the most prominent items is a rare photograph of Stokes and Pickett posing together in street clothes (MSSP 5000-56: X Olympiad, Los Angeles. Photographs, 1932). A clipping from the Los Angeles Herald Express includes a large picture titled “American Girls’ Track Team Arrives” showing Stokes (standing, right) and Pickett (kneeling, second from left) with their teammates (MSSP 5000-57: X Olympiad, Los Angeles. Newspaper clippings, 1932).

The Steers Papers does contain an original manuscript item attesting to some of the discriminatory treatment encountered by the two African American women. A passenger list and reservations receipt for the train trip that the U.S. women’s Olympic track and field team took from Chicago to Denver en route to L.A. suggests that Steers racially segregated the athletes while they were on the train. The passenger card shows the lodging arrangements for the team and indicates that Steers placed Louise Stokes and Tidye Pickett in berths 11 and 12 of Pullman Car #341—separate from and two bunks away from the rest of their white teammates (MSSP 5000-54: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932).

Other documents describe the presence of the two Black athletes as members of the U.S. contingent. A July 16, 1932, telegram from Fred Steers to the American Olympic Committee, for instance, lists the full official roster of the women’s track and field team. The handwritten telegram includes Louise Stokes and Tidye Pickett on line 5 as members of the relay team (MSSP 5000-52: X Olympiad, Los Angeles. Fred L. Steers correspondence, 1932). 

The collection contains a multitude of other ephemera related more generally to the 1932 Los Angeles Olympics. Significant items include a referee’s badge from the “Final Olympic Track & Field Tryouts for Women” held at Northwestern University’s Dyche Stadium on July 16, 1932 (MSSP 5000-55: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932), and an unused ticket for events at the “Track and Field Olympic Stadium” on August 6, 1932 (MSSP 5000-54: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932).

Louise Stokes and Tidye Pickett were again members of the U.S. team for the 1936 Berlin Olympics. Their trailblazing athletic careers helped pave the way for future generations of African American women Olympians.

The Fred L. Steers Papers contains plentiful records related to the United States Olympic Teams and other amateur sports from 1916–1967. The collection is open to the public and available for research.

A Closer Look at a Glossed Bible Leaf

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

This leaf (Frag. I. 21) comes from a glossed Bible produced in France during the twelfth century. Glossed bibles contained both scripture and explanatory comments (glosses) on the same page and were used in teaching and formation. The small format of this Bible (305 x 207 mm) allowed a master to bring it to the schoolroom easily for use. The layout of glossed bibles is intentional and functional: scripture occupies the central column and space is allotted for glosses to be written in the margins (marginal glosses) and between lines (interlinear glosses). The glosses can explicate the biblical text in literal, allegorical, moral, and even anagogical ways.

The particular text of this leaf comes from 2 Chronicles (II Paralipomenon). The function of interlinear and marginal glosses is distinct and can be observed in the following two examples. On the verso above the text misit Nabuchodonosor rex (“King Nebuchadnezzar sent”) an interlinear gloss is written: de hoc plenius in libro Regum scriptum est (“there is a fuller written account about him in the book of Kings”). The gloss is short and informative, directing the reader to find more information about a proper name.

Compare this to the gloss on Joachim copied in the left margin of the recto. This comment is more substantive and begins a literal/historical interpretation, then moves to allegorical and moral explications: “Joachim was taken prisoner and lead into Babylon; this signifies the fall of the righteous who were deceived by the Devil’s handiwork. They are lead astray into the ruin of heresy and vice. These people were supposed to teach others in word and deed and raise them from sin.” (Ioachim captiuus in Babilonem ductus, lapsum rectorum significat qui diaboli arte delusi, abducuntur in confusionem errorum ac uiciorum et qui alios uerbo et opere docere debuerant, et a peccato suscitare.)

The parent manuscript was formerly in the Benedictine abbey of Saint-Oyan de Joux (Saint-Claude), where it appeared in the abbey’s library catalogue dated 8 March 1492. The codex was later in the collection of William L. Clements of Bay City, Michigan (1860-1934) and then in possession of the Cleveland, Ohio, biblioclast Otto F. Ege by 1937. Leaves were also being offered for sale by Philip Duschnes (New York, NY) in 1943 and 1946.

Bibliography

Alexander Andrée, “Glossed Bibles,” in The Oxford Handbook of the Latin Bible, ed. H.A.G. Houghton, 208-224. Oxford University Press, 2023.

Auguste Castan “Le Bibliothèque de l’Abbaye de Saint-Claude du Jura: Esquisse de son histoire.” Bibliothèque de l’École des chartes 50 (1889): 301-354.

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, p. 429-430.

Scott J. Gwara, Otto Ege’s Manuscripts: A Study of Ege’s Manuscript Collections, Portfolios, and Retail Trade. Cayce, SC, 2013, 31-32, 39, 40, 71-72.

Congratulations to the 2024 Graduates!

Best wishes to the 2024 graduates of the University of Notre Dame, Saint Mary’s College, and Holy Cross College, from all of us in Rare Books and Special Collections.

We would particularly like to congratulate the following student who worked in Special Collections during their time on campus:

Anne Elise Crafton (ND ’24), Ph.D., Medieval Studies. Their dissertation is titled “You Sound Like a Wif: The Representation of Women’s Speech in Old English”.

Both images: MSE/EM 110-1B, Diploma, University of Padua, 1690

Upcoming Events: May 2024 and through the summer

Currently there are no events scheduled to be hosted this summer in Rare Books and Special Collections.

The exhibition Mapping the Middle Ages: Marking Time, Space, and Knowledge runs through the summer and closes in late July. Learn more about the exhibit in this video, and plan your visit this summer.

The current spotlight exhibits are Scripts and Geographies of Byzantine Book Culture (February – May 2023) and The Book Beautiful: A Selection from the Arts & Crafts Movement (April – May 2024). Towards the end of May, we will install a double case spotlight exhibit highlighting Special Collections items relating to the early modern history of mathematics.

Rare Books and Special Collections is open
regular hours during the summer —
9:30am to 4:30pm, Monday through Friday.

RBSC will be closed Monday, May 27th, for Memorial Day and Thursday, July 4th, for Independence Day.

Spotlight Exhibit: The Book Beautiful

by Luke Kelly, Gladys Brooks Conservation Fellow, Hesburgh Libraries

The books in Special Collections’s April-May spotlight exhibit represent a small selection of materials from the University of Notre Dame’s collection that reveal the influence of William Morris on the Arts & Crafts movement. From the printing and binding of Thomas J. Cobden-Sanderson to the illumination and calligraphy of Edward Johnston and Alberto Sangorski, Morris’s ideal of the “book beautiful” was taken up by dozens of other makers who sought in their own way to merge artistry and craftsmanship in the creation of beautiful books.

William Morris founded the Kelmscott Press in 1891 in response to the decorative excesses of the waning Victorian era and declining material and design standards in book publishing. He aimed to print books “which would have a definite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters.” 1 Perhaps for the first time in Europe since Gutenberg, Morris sought to design the whole book, selecting the paper, type, illustrations, typography, binding, and even the ink that were used in the production of books from the Kelmscott Press.

In making these decisions, Morris was informed by a set of exemplary medieval manuscripts and early printed works that he assembled as a personal reference library. On his historical influences in book design, Morris wrote “I have always been a great admirer of the calligraphy of the Middle Ages, & of the earlier printing which took its place. As to the fifteenth century books, I had noticed that they were always beautiful by force of the mere typography, even without the added ornament, with which many of them are so lavishly supplied.” 2 The University of Notre Dame is fortunate to have two medieval manuscripts (cod. Lat. c. 6 and cod. Lat. e. 4) owned by William Morris.

Lat. c. 6 binding (fore edge) and Morris bookplate.

Cod. Lat. c. 6 is a 13th century copy of Peter Riga’s Aurora. Its undecorated, utilitarian limp parchment binding is charming even in its worn state and exemplifies the authenticity that Morris was attracted to in scribal book production. This book features particularly pronounced “yapped” fore-edge folds on the parchment cover, which were intended to protect the page edges from wear. Yapped edges are commonly found in this style of binding, and Morris would go on to incorporate them in his binding designs for books from the Kelmscott Press.

Except for the Kelmscott Press edition of Chaucer’s works, most books from the press were issued in two possible binding configurations: limp vellum with colored silk ties or a hardcover binding with off-white linen covering the spine and blue paper covering the boards. The Earthly Paradise was one of the last publications by the Kelmscott Press, and this particular copy retains its William Morris-designed limp vellum binding with green silk ties. It was bound for the Kelmscott Press by J. & J. Leighton. The yapped fore-edge folds of this binding are reminiscent of the yapped edges on the Riga Aurora manuscript, though they are more diminutive. The use of green silk (custom dyed at the request of Morris and used for the fore-edge ties on this binding) appears frequently in British Arts & Crafts movement books. A similarly colored green silk was used to sew the copy of Men & Women by the Doves Press in the exhibit and is visible in the gutter fold.

Men & Women opening showing colophon and green silk in gutter.

After taking up bookbinding in 1883 at the suggestion of Jane Morris, William Morris’ wife, Thomas J. Cobden-Sanderson established a new aesthetic for gold tooling in bookbinding using repeating patterns of a custom-designed set of brass finishing tools and high quality leather. Cobden-Sanderson’s aesthetic was also disseminated through his teaching. His students, such as Douglas Cockerell and Katharine Adams, became leading binders in their own right. Like William Morris, Cobden-Sanderson was interested in the design of the whole book and believed that ideally each part of the book’s production–materials, typography, illustration, and binding–should function together harmoniously to communicate the ideas contained by the written word.

Though foremost a bookbinder, Cobden-Sanderson collaborated with Emery Walker—a renowned typographer who assisted Morris in the development of several Kelmscott typefaces—to establish the Dove Press in 1900 four years after the death of William Morris. Their Doves typeface was a more accurate, svelte interpretation of Nicolas Jenson’s roman types from the late 15th century than was Kelmscott’s squat Golden typeface used in The Earthly Paradise (and in Morris’s bookplate).

This Doves Press copy of Men & Women by Robert Browning was “flourished” in the margins by Edward Johnston. Johnston was a calligrapher who was inspired by Medieval and Renaissance manuscripts and helped revitalize illumination and lettering in the Arts & Crafts movement. Ironically, Johnston is perhaps best known today for creating the sans serif typeface used by the London Underground transportation system than for his floral calligraphy.

Sometime between 1901 and 1905, Edward Johnston taught calligraphy at the Central School in London to Francis Sangorski, an virtuosic bookbinder and younger brother of Alberto Sangorski. Though Alberto was initially a bookkeeper from Francis’s bindery, Sangorski & Sutcliffe, Alberto learned the rudiments of calligraphy, quill pen cutting, and gold illumination from Francis. In 1905 at the age of 43 (coincidentally the same age Thomas J. Cobden-Sanderson gave up lawyering for bookbinding) Alberto Sangorski established himself as a calligrapher.3

This illuminated manuscript of John Milton’s On the morning of Christ’s nativity: an Ode was created by Alberto Sangorski sometime between 1905 and 1910. Alborto Sangorski developed his own miniaturist painting style based on Medieval and Pre-Raphaelite artists, which can been seen in this manuscript and in the manuscript of Dante Gabriel Rosetti’s The Blessed Damozel also on display in the exhibit. Alberto’s work drifted from the historical modeling of other Arts & Crafts figures and embraced the Edwardian era’s exuberance in design and catered to the conspicuous consumption of the truly “Gilded Age.”

This Alberto Sangorski manuscript of Dante Gabriel Rosetti’s poem The Blessed Damozel was bound by his brother Francis’s bindery, Sangorski & Sutcliffe. Francis Sangorski began his bookbinding apprenticeship in 1901 under Douglas Cockerell, another leading figure in the Arts & Crafts movement who himself trained under Thomas J. Cobden-Sanderson at the Doves Bindery. This binding is typical of Sangorski & Sutcliffe’s higher-end design bindings, featuring elaborate gold tooling and decorative leather onlays of thinly skived crimson goatskin. Sangorski & Sutcliffe’s most expensive and celebrated binding of an 1884 imprint of the Rubáiyát of Omar Khayyám sank on the RMS Titanic on April 14, 1912. Francis Sangorski drowned six weeks later while swimming in the English Channel. Like the Milton manuscript, this codex was likely created early in Alberto Sangorski’s career sometime between 1905 and 1910.

 

Footnotes

1. Morris 1.

2. Ibid.

3. The Cinderella of the arts 41.

 

Bibliography

Morris, William. A note by William Morris on his aims in founding the Kelmscott Press. Hammersmith: Kelmscott Press, 1898.

Shepherd, Rob. The Cinderella of the arts: a short history of Sangorski & Sutcliffe. London & New Castle, DE: Oak Knoll Books, 2015.