Collection highlights, news about acquisitions, events and exhibits, and behind-the-scenes looks at the work and services of Rare Books & Special Collections (RBSC) at Notre Dame.
Rare Books and Special Collections welcomes students, faculty, staff, researchers, and visitors back to campus for Spring ’26! Here are some things to watch for in Special Collections during the coming semester.
Special Collections Welcomed a New Postdoctoral Research Associate during the Fall 2025 Semester
Ruben Celani (Photo by Matt Cashore / University of Notre Dame)
Ruben Celani, Ph.D., joined the Hesburgh Libraries in October as a postdoctoral research associate in Italian Studies and Zahm Dante Collection curatorial fellow. He works in Rare Books & Special Collections as a subject liaison for Italian studies and curator of the Libraries’ extensive rare Italian collections, while also pursuing his own academic research.
Prior to joining the Hesburgh Libraries, Celani served as an adjunct lecturer in the Department of Literary Studies at Ghent University in Belgium. He holds a Ph.D. from Ghent University in Literary Studies with specialization in Italian Studies, as well as a bachelor’s and a master’s degree in Archival and Library Sciences from the University of Rome “La Sapienza.” Ruben has experience working in libraries in Rome, The Hague, and Antwerp.
This exhibition highlights stories of survival, contemplation, competition, protest, and learning, from six distinct collections in Rare Books and Special Collections. Each section, presented by a different subject curator, focuses on an example of how people over time and in different places, construct community and cultivate hope.
Curated by Rachel Bohlmann, Ph.D. (Curator, American History and American Studies), Gregory Bond, Ph.D. (Curator, Joyce Sports Research Collection), David T. Gura, Ph.D. (Curator, Ancient and Medieval Manuscripts), Matthew Knight, Ph.D. (Irish Studies Librarian and Curator), Natasha Lyandres (Curator, Rare Books & Special Collections), and Payton Phillips Quintanilla, Ph.D. (Librarian and Curator for Latin American and Iberian Studies).
In honor of Dr. Martin Luther King Day (January 19th), the birthday of Jackie Robinson (January 31st), and Black History Month (February), Rare Books and Special Collections is pleased to highlights examples from its collection of souvenir fan pennants from the Negro Baseball Leagues. The colorful collectible felt souvenir pennants represent leading Black baseball teams of the 1930s and 1940s and feature large screen-printed graphics of African American baseball players in action.
Curated by Gregory Bond (Curator of the Joyce Sports Research Collection).
Created across multiple centuries, geographies, and cultures, pre-Hispanic clay sellos (flat and cylindrical stamps and seals) are celebrated as the earliest manifestation of Mesoamerican print culture. This cross-repository Spotlight Exhibit presents a selection of sellos stewarded by the Raclin Murphy Museum of Art; two emblematic publications of sello designs, preserved in the Hesburgh Libraries’ Rare Books and Special Collections; and contemporary examples of sello-inspired visual arts.
Curated by Payton Phillips-García Quintanilla (Librarian and Curator for Latin American and Iberian 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.
In her speech to celebrate the opening of Christine Dunlap Farnham’s Archive at Brown University, feminist historian Joan Wallach Scott reflected on the lack of attention to women’s personal collections and archives that memorialize their lives.1 The exhibit “Social Media Networks in the 19th and 20th Centuries: The Albums of Esmeralda Cervantes, Teresa Puelma de Orrego, Luz de Sagaceta, María Enriqueta Camarillo,” recently installed in Rare Books and Special Collections (Hesburgh Libraries, University of Notre Dame), seeks to build on Scott’s insights by highlighting women’s friendship albums and scrapbooks as vital historical documents that deserve a place on display.
Curated by members of the upper-level Spanish course “Women’s Culture in 19th Century Latin America” at the University of Notre Dame, this exhibit focuses on preserving and showing the importance of women’s stories through material culture. In this course, we explore the cultural and intellectual contributions of women in 19th- and early 20th-century Latin America, examining how gender shaped ideas of citizenship, sexuality, and education in post-independence societies. Among our study of literature, periodicals, and other women’s public interventions, albums emerge as a novel object for understanding 19th- and 20th-century sociability.
19th century albums were typically blank books that served as repositories for various collectible objects and writings. For women, in particular, albums were a crucial medium for engaging with writing and visual culture, shaping identity, and creating bonds outside the domestic sphere. Pages within the albums vary in content, including personal letters, poetry, pieces of artwork, and autographs, among others. Each album serves as a tangible representation of the illustrious life of the woman who curated it.
As part of the coursework, we were also introduced to the fascinating world of Rare Books and Special Collections, a space that allowed us to work hands-on with the friendship albums and scrapbooks of four women from the 19th and early 20th century Hispanic world held at the Notre Dame’s archives: Esmeralda Cervantes, Luz de Sagaceta, Maria Enriqueta Camarillo, and Teresa Puelma de Orrego.
Researching them revealed a challenging but fruitful journey. We found that women’s stories were poorly cataloged or entirely absent from historical archives, while the information on similar works of male counterparts from their time were easily accessible through a simple Google search. This lack of documentation is not accidental but rather revealing of a greater theme: the historical discrimination of women in academic spaces and historical accounts, even among elite women. Traditional academia has undervalued their work, and left it outside of the literary canon. Our research, however, reveals the profound importance of their activities in shaping the culture and politics of their era. By reconstructing women’s stories through their friendship albums and scrapbooks, objects often dismissed as trivial or not relevant outside the private sphere, we engage in an act of recovery and critical analysis. Each page becomes evidence of an intellectual world that has always existed but was never fully recognized. Our goal is not simply to display their work but to restore women’s historical presence by centering the very objects and writings that belonged to them.
Album coverFirst page of the album signed by Argentine writer Adolfo Mitre during Cervantes’s visit to Buenos Aires.Letter signed by Spanish writer and feminist Emilia Serrano, who was also traveling in Latin America during Cervantes’s tour.Album amicorum de Esmeralda Cervantes, 1875-1877 (MSH/LAT 0094)
The album belonging to Clotilde Cerdá (1861–1926), better known by her artistic name, Esmeralda Cervantes, meticulously documents her highly publicized Latin American tour between 1875 and 1877. Born in Barcelona, she had achieved renown across Europe as a prodigious harpist by the age of fourteen. The prominent selection of “Esmeralda” rather than “Clotilde” to be hand-embroidered on the album’s center signifies her wish to delineate her professional trajectory from her private identity, asserting that she be primarily remembered for her musical accomplishments. Though the velvet cover has faded with time, the enclosed collection of drawings, poems, and dedicatory letters—all paying homage to her—preserves the intellectual and artistic worldview she cultivated through her art.
Album coverPoem in English with botanic motifs adorning the page. Albums were usually multilingual and spoke of the transnational connections of their owners.Album amicorum de Teresa Puelma de Orrego, 1851-1893 (MSH/LAT 0119)
The album of Teresa Puelma de Orrego, who was born in Santiago de Chile in 1861, offers a glimpse into the upper-class world of Chile during the 19th century. She was the daughter of an aristocratic family and lived most of her life in Chile. Her album contains a collection of letters and signatures from prominent politicians and generals, family mementos, and prayers in French, English, and Spanish. Notable entries include a condolence letter from Chilean President Jorge Montt and a hand-drawn map of the War of the Pacific (1879–1884), fought between Chile and an alliance of Peru and Bolivia and originated from a territorial dispute. The album itself is highly ornate: the cover is made of thick dark green fabric with her name embroidered in gold thread on the front. There is little information about her other than what exists in this album, inviting us to “read” the silences surrounding her as part of the historical record itself, and work to fill in those silences with our own original research.
Album coverPainting by Roberto MontenegroPoem by Jesús Valenzuela, 1904Album de recuerdos de la Señorita Luz Sagaceta, 1904-1905 (MSH/LAT 0095)
Luz Sagaceta was born in 1886 in Mexico City and was eighteen years old when her album was assembled. Through newspapers and the works in her album, we know that she was part of Mexico’s Porfirian elite. As members of this social class, she and her family were well-known enough to be noted in print culture and had the means to travel. Her album reveals the privilege she possessed, a privilege few women enjoyed: the opportunity to create an album, a subtle space of authorship. Luz’s album includes contributions from authors such as Jesus E. Valenzuela, Amado Nervo, Ruben M. Campos, and Jesus Urueta. These authors dedicated poems to her; some were inspired by Luz’ beauty, while others addressed topics of personal significance, such as the important women in their lives. This demonstrates that Luz had sufficient significance for them to offer genuine, personal tributes.
Album coverTitle page of the first volumeClippings of portrait and literary profile of the author published in the literary journal Album de Damas, Mexico, 1908.Juicios de prensa acerca de María Enriqueta y de sus libros: recortes y copias de opiniones publicadas en diarios y revistas de varios países, 1897-1940 (MSH/LAT 0118, t. 1-3)
Maria Enriqueta Camarillo, a celebrated Mexican novelist, poet, translator, and educator, used her meticulously kept albums to showcase her multifaceted talents, intellectual collaborations, and commitment to community, offering an analogue to contemporary social media. These collections, filled with her work, scholarly praise, sketches, and photographs, functioned as social connectors, highlighting her versatility, her international image, and the significant professional and personal relationships that were central to her life and Mexican culture. For the modern reader, engaging with Camarillo’s scattered yet beautiful albums provides an invaluable perspective—a welcome into a 19th-century life that otherwise might not have been fully told—and serves as a formative lesson in accepting historical complexity and narrative ambiguity rather than seeking immediate, structured answers.
Exploring the lives of these women through their albums was an enlightening experience. As a class, we were able to travel back in time to learn about their lives and gain insight into the society of the late nineteenth and early twentieth centuries. The first step of this process was reading about our albums from materials provided in class. Then, we had the chance to step outside of the classroom and into Special Collections to work with the physical albums. Working closely with library staff, curators, and specialists allowed us to fully immerse ourselves in the materiality of women’s archives. We gained tangible access to the lives of these women, feeling the texture of the album fabrics and carefully turning their pages.
Curating the physical exhibit proved equally enriching, as we took ownership of every step: from item selection and display design to writing introductory texts and labels—a long process requiring intensive collaboration with library specialists. This hands-on experience transformed us from simple student observers into the main actors of a historical recovery project, contributing to something larger that the audience would later enjoy.
The influence of these albums is still evident today in the digital tools and platforms we use to curate and preserve our own memories. Digital content, including posts on Instagram and videos on YouTube, effectively creates a personal digital archive—a collection of memories that visually represents an individual’s most significant social ties and interests, essentially acting as a form of “writing with scissors,” as coined by Ellen Gruber Garvey. While the medium has transformed from handwritten cursive to the digital scrapbook, the fundamental purpose—to preserve selfhood and community—endures, allowing these personal archives to leave a lasting impact on all who encounter them.
The project extended this hands-on approach to a general audience through the “Create Your Own Album Page” activity held on specific dates. This initiative has been a great source of direct and immediate feedback from visitors, including library staff, faculty, and students. Their most frequent reaction has been surprise and delight that the archives are not only part of an undergraduate class but also the inspiration for a collective and participatory project.
With this activity, the archives are truly brought to life. Our proposal of thinking of the albums as the precedent of social media creates a more direct, intimate connection with every visitor: guests are invited to contribute their own unique page to a communal album. Contributions have spanned songs, original poems, verses by renowned writers in various languages, thoughtful collages, dedications to loved ones, and letters—mirroring the rich and diverse content found in the 19th- and 20th-century albums we studied. Visitors of this exhibit become active participants in the enduring legacy of “writing with scissors,” experiencing firsthand the fundamental human impulse to curate and share selfhood.
Bella Barraza, Isabella Cioffi, Ryan Farrell, Meghan Garrity, Luke Grantz, Sophia Hohman, Marshall Horton, Ella Johnson, Kate Kirwan, Elizabeth Larsen, Felipe Nino, Thomas Phillips, Monica Schleg and Jhoseline Trejo, enrolled in ROSP 40790, Women’s Culture in 19th-Century Latin America, taught byVanesa MiseresPh.D. (Associate Professor, Romance Languages and Literatures).
This exhibit traces the global journey of Dante’s masterpiece through rare and valuable printed editions, highlighting how translators, artists, and printers have popularized and reshaped the Commedia. These volumes reveal a dynamic dialogue between Dante’s poetry and the world. A global literary perspective transforms Dante from a monumental yet isolated figure of the European Middle Ages into a central presence in the ongoing international conversation about humanity, the universe, time, eternity, and the power of literature.
This exhibit is curated by Salvatore Riolo (Notre Dame, Italian Studies doctoral candidate), and co-curators Giulia Maria Gliozzi (Notre Dame, Italian Studies doctoral candidate); Inha Park (Notre Dame, Italian Studies doctoral candidate); and Peter Scharer (Yale, Comparative Literature doctoral candidate). Theodore J. Cachey Jr. (Notre Dame) and Jacob Blakesley (Sapienza Università di Roma) served as consultants on the exhibit.
MSH/LAT 0095 (Luz de Sagaceta)
The current spotlight exhibits are Social media networks in the 19th and 20th centuries/ Las redes sociales de los siglos XIX y XX, curated by the students (Bella Barraza, Isabella Cioffi, Ryan Farrell, Meghan Garrity, Luke Grantz, Sophia Hohman, Marshall Horton, Ella Johnson, Kate Kirwan, Elizabeth Larsen, Felipe Nino, Thomas Phillips, Monica Schleg and Jhoseline Trejo) enrolled in ROSP 40790, Women’s Culture in 19th-Century Latin America, taught by Vanesa Miseres Ph.D., and Bibliomania: The Library of Sir Thomas Phillipps, curated by Anne Elise Crafton (2024-2025 Rare Books and Special Collections Postdoctoral Research Fellow).
All exhibits are free and open to the public during business hours.
RBSC will be closed December 2 from 11:00am–2:30pm for the Hesburgh Libraries and ND Press Christmas Luncheon, and during the University of Notre Dame’s Christmas Break, December 24, 2025–January 2, 2026.
Rare Books and Special Collections houses one of the most comprehensive yet least explored collections dedicated to Rubén Darío. The Nicaraguan poet is a central figure in Latin American and world literature; however, many of his texts have deteriorated over time, and reliable academic editions of his works are scarce. Under the direction of María Rosa Olivera-Williams, the University of Notre Dame has partnered with the Archivo Rubén Darío Ordenado y Centralizado at the Universidad Nacional de Tres de Febrero in Argentina to produce four critical editions of Darío’s writings. Since 2022, the Rubén Darío Collection has been the site of multiple research projects led by Olivera-Williams that have included significant digitization and stabilization work of the materials by RBSC staff.
These projects have resulted in compelling findings that have been widely celebrated by the international academic community. The first of these projects culminated in the publication of Opiniones in 2024, a collection of Dario’s journalistic writings accompanied by an introduction and critical annotations from the renowned essayist Graciela Montaldo of Columbia University. The book received the seal of excellence from the MLA Committee on Scholarly Editions, which guarantees the publication’s philological rigor.
The Rubén Darío Collection played a key role in the development of the book because it provided access to the original publications of its chapters, which appeared in the pages of the Argentine newspaper La Nación between 1904 and 1906. The collection also preserves a lesser-known portrait of Rubén Darío that was used as a medallion on the back cover of La vida de Rubén Darío escrita por él mismo (The Life of Rubén Darío Written by Himself), a critical edition published in 2021.
La Nación Suplemento Ilustrado, April 1903 (MSN/LAT 0092-30)Photograph of Rubén Darío, July 1912 (MSN/LAT 0092-10)
“The Rubén Darío: Critical Editions Project” has received tremendous support from a broad community of specialists at numerous international conferences and seminars. At these events, various members of the project team presented significant advances in their research. These conferences include the International Congress of the Latin American Studies Association (2024 and 2025), the International Congress of Comparative Literature at Adolfo Ibáñez University (2024), the International Congress of the Modern Language Association (2025), and the Northeast Modern Language Association conference (2025). Attendees have praised the project for its comprehensiveness and rigor, the quality and depth of its research, and its potential to open new avenues of inquiry in different fields. Our work has also revitalized studies in the field of literary modernism. As a result of this project, several team members have published works in the form of dossiers or individual articles in specialized journals, with more in progress. Notably, the monographic issue of the journal Chuy, coordinated by Olivera-Williams in 2024, has emerged as a significant achievement.
As part of the symposium, the Hesburgh Library will present the latest developments in the publication of Rubén Darío’s prose works, including the critical edition of Peregrinaciones, edited by Beatriz Colombi of the University of Buenos Aires. This edition was made possible by the materials in the Rubén Darío Collection at Notre Dame and will be presented by Rodrigo Caresani, one of the directors of the Complete Works project.
This exhibit traces the global journey of Dante’s masterpiece through rare and valuable printed editions, highlighting how translators, artists, and printers have popularized and reshaped the Commedia. These volumes reveal a dynamic dialogue between Dante’s poetry and the world. A global literary perspective transforms Dante from a monumental yet isolated figure of the European Middle Ages into a central presence in the ongoing international conversation about humanity, the universe, time, eternity, and the power of literature.
Drop in to one of this month’s Exhibit Open Houses to meet and speak informally with one of the curators of the fall exhibition, Mapping Global Dante in Translation. Learn how translators, artists, and printers have popularized and reshaped the Divine Comedy over the centuries and across the world and discover the Library’s many Dante editions.
This exhibit is curated by Salvatore Riolo (Notre Dame, Italian Studies doctoral candidate), and co-curators Giulia Maria Gliozzi (Notre Dame, Italian Studies doctoral candidate); Inha Park (Notre Dame, Italian Studies doctoral candidate); and Peter Scharer (Yale, Comparative Literature doctoral candidate). Theodore J. Cachey Jr. (Notre Dame) and Jacob Blakesley (Sapienza Università di Roma) served as consultants on the exhibit.
Opening November 5, our next spotlight exhibit will feature several friendship albums being studied this semester by Notre Dame students in a class taught by Vanesa Miseres (Romance Languages & Literatures).
Please join us for the following public events and exhibits being hosted in Rare Books and Special Collections:
Drop in to one of this month’s Exhibit Open Houses to meet and speak informally with one of the curators of the fall exhibition, Mapping Global Dante in Translation. Learn how translators, artists, and printers have popularized and reshaped the Divine Comedy over the centuries and across the world and discover the Library’s many Dante editions.
This exhibit traces the global journey of Dante’s masterpiece through rare and valuable printed editions, highlighting how translators, artists, and printers have popularized and reshaped the Commedia. These volumes reveal a dynamic dialogue between Dante’s poetry and the world. A global literary perspective transforms Dante from a monumental yet isolated figure of the European Middle Ages into a central presence in the ongoing international conversation about humanity, the universe, time, eternity, and the power of literature.
This exhibit is curated by Salvatore Riolo (Notre Dame, Italian Studies doctoral candidate), and co-curators Giulia Maria Gliozzi (Notre Dame, Italian Studies doctoral candidate); Inha Park (Notre Dame, Italian Studies doctoral candidate); and Peter Scharer (Yale, Comparative Literature doctoral candidate). Theodore J. Cachey Jr. (Notre Dame) and Jacob Blakesley (Sapienza Università di Roma) served as consultants on the exhibit.
Para quienes trabajamos en Libros Raros y Colecciones Especiales (RBSC, por sus siglas en inglés), siempre es emocionante redescubrir los libros, manuscritos, materiales efímeros y otros objetos de nuestras colecciones, así como recuperar las importantes historias que cuentan. Sin embargo, a menudo es aún más emocionante ver a nuestros usuarios hacer lo mismo. Desde estudiantes curiosos de todas las edades hasta investigadores y académicos de cerca y de lejos, ellos son la razón por la que preservamos y cuidamos estos materiales. La creación de conocimiento es un esfuerzo colaborativo, y las Bibliotecas Hesburgh se esfuerzan por estar en el centro de ese proceso.
Un hermoso ejemplo de los frutos de nuestra misión tuvo lugar este pasado mes de julio, cuando RBSC tuvo el gran honor de recibir al Dr. Andrés Eichmann Oehrli, un destacado especialista en las literaturas e historias intelectuales del período colonial de Bolivia y Perú. Nacido y criado en Buenos Aires, Argentina, el Dr. Eichmann asistió al Colegio San Miguel (Buenos Aires), obtuvo su licenciatura en Letras en la Universidad Nacional de Cuyo (Mendoza, Argentina) y luego su doctorado en Filología Hispánica en la Universidad de Navarra (España). Es un autor prolífico, con numerosas publicaciones que incluyen libros (tanto monografías como ediciones académicas), artículos en revistas científicas y capítulos de libros, y ha editado más de veinte libros y volúmenes de revistas. Actualmente, el Dr. Eichmann es Profesor Titular de Literatura en la Universidad Mayor de San Andrés; Presidente de la Sociedad Boliviana de Estudios Clásicos; y Director de la revista Classica boliviana.
El Dr. Andrés Eichmann Oehrli en la Sala de Lectura, comparando un facsímil del texto impreso de la crónica de Mendoza con la versión manuscrita resguardada en RBSC.
Durante sus días en RBSC, el Dr. Eichmann compartió con entusiasmo explicaciones sobre lo que estaba viendo, leyendo y aprendiendo. Planea continuar trabajando con materiales de nuestras colecciones—en particular, con manuscritos de la Colección de Historia Peruana José Durand—y espera inspirar a sus estudiantes en Bolivia a hacer lo mismo. Generosamente aceptó conceder esta breve entrevista en español (traducida al inglés con la ayuda de Chat GTP).
PPQ: Entiendo que Ud. llegó a Notre Dame para realizar una estancia de investigación en el de Nicola Center for Ethics and Culture. ¿Nos puede contar un poquito sobre ese programa y sus actividades ahí?
AEO: Vine al Nicola Center porque es un lugar privilegiado para conocer el estado actual de lo mejor que se ha investigado en torno a la ética y a las tradiciones intelectuales del universo cristiano. Formé parte de un grupo de personas venidas de Chile, Bolivia, Ecuador y México, unas 30 en total, entre estudiantes de máster y de doctorado y profesores de distintas universidades. Vinimos liderados por el Dr. Joaquín García Huidobro, de la Universidad de Los Andes (Chile).
Estuvimos dos semanas completas, trabajando de 8.00 a.m. hasta las 20.00. Nos propusimos turnarnos para que, cada día, uno de nosotros ofreciera una breve charla […] Después de la charla había opción de hacer preguntas o comentarios. […] El otro compromiso (fuera de avanzar cada quien en su propio trabajo de investigación) consistía en leer, cada día, el trabajo de otro […], para contribuir con nuestras observaciones y sugerencias. Esto le permitió a cada uno ampliar y, a menudo, precisar, el enfoque, la perspectiva, etc., de su propio trabajo. Se aprende muchísimo de esa manera, y se avanza mejor. Es una dinámica muy enriquecedora.
Yo llegué con la intención de avanzar en el estudio del neo estoicismo en autores de los siglos XVI y XVII, del virreinato del Perú (sobre todo, de lo que hoy es Bolivia). El neo estoicismo es una corriente de pensamiento que, al menos en España y en Hispanoamérica, estuvo muy ligada a la lectura de las epístolas morales de Séneca y las obras de Tácito. Sin duda avancé en lo que me había propuesto, pero los hallazgos en Rare Books me “obligaron” a ocuparme de ellos. Ya volveré al neo estoicismo. Esto no podía esperar.
PPQ: ¿Cuáles son algunos de los materiales más interesantes que examinó en Rare Books and Special Collections? ¿Cómo se relacionan con sus investigaciones previas y/o actuales?
AEO: Estuve interesado en textos producidos en el virreinato del Perú durante los siglos XVII y XVIII. Como siempre ocurre con una colección que no conoces, llegas con algunas expectativas, pero lo más importante es estar abierto a la sorpresa. Y esto es lo que puedo decir, sin duda alguna, que encontré.
Hay, por ejemplo, unas piezas teatrales breves del siglo XVIII, compuestas en Lima, que sirven para “abrir” un espectáculo teatral. En una de ellas se indican los nombres de los actores y actrices que la pusieron en escena. Entre otros nombres, aparece el de “Michaela Villegas”, que fue una conocida actriz de Lima, a quien llamaban “la Perricholi”. Esta y otras piezas de teatro me llamaron la atención. En 2002 tuve la fortuna de encontrar, en Potosí, junto con mi colega Ignacio Arellano, de la Universidad de Navarra, 25 piezas teatrales manuscritas. Hicimos la edición de todas ellas en 2005. Todo lo relacionado con la actividad teatral del periodo es algo que interesa, por este motivo, entre otros. […]
PPQ: ¿Cuál fue el descubrimiento que más le impactó? ¿Piensa seguir investigándolo?
MSH/LAT 0001, Caja 1, Carpeta 33 (se guarda por separado). Manuscrito, Luis Antonio de Oviedo y Herrera, “La Vida de Santa Rosa de Lima […]”, siglo XVIII.
AEO: Lo que más me sorprendió fueron dos volúmenes manuscritos que fueron escritos por autores del siglo XVII en el virreinato del Perú. Uno de ellos lleva por título “Vida de Santa Rosa”, y se trata de “Vida de Santa Rosa de Santa María, natural de Lima y patrona del Perú. Poema heroico”. Efectivamente, es poesía épica, en octavas reales (como era normal), y es una pieza apasionante que se extiende a lo largo de 11.300 versos. El autor, Luis Antonio de Oviedo y Herrera, fue corregidor de la Villa Imperial de Potosí, y estando allá organizó las fiestas de canonización de santa Rosa, en 1672. Se conocen dos ediciones del siglo XVIII de este poema, la de Madrid (1711) y la de México (1729). En la Fundación Lázaro Galdiano está el manuscrito que sirvió para la edición de 1712. En México no hacía falta hacer un manuscrito, porque bastaba con seguir al pie de la letra la edición madrileña, con la misma distribución de texto por cada página. Y es lo que hicieron, como era lógico. Pero aquí, en Rare Books, encontramos otro manuscrito, con una distribución textual distinta, que no dio lugar a ninguna edición que conozcamos. Es sorprendente, auténtica, una rareza, y estoy decidido a trabajarla.
MSH/LAT 0001, Caja 1, Carpeta 16 (se guarda por separado). Manuscrito, Diego de Mendoza, “Chronica de la Provincia de San Antonio de los Charcas […]”, siglo XVII.
El otro hallazgo es un manuscrito de más de 800 páginas. Es la “Chrónica de la Provincia de San Antonio de los Charcas del Orden de nuestro Seráfico Padre San Francisco …”, escrito por fray Diego de Mendoza. Se cree que el autor nació en el Cusco, y sabemos que escribió la crónica en el convento de esa ciudad. Es una obra imponente, con muchas referencias eruditas, que consta de tres libros. Está escrita principalmente para la edificación: después de exponer, en el libro primero, la historia general de la orden en América y particularmente en la provincia de Charcas (que coincide aproximadamente con lo que hoy es Bolivia), los libros II y III los dedica a exponer la “vida y virtudes” de una gran cantidad de personas, varones y mujeres, españoles, criollos e indios, que pertenecieron a la orden religiosa (tal vez sea más exacto decir “órdenes”, en plural) de los franciscanos.
Lo que me llama poderosamente la atención es que el texto impreso, que se publicó en Madrid en 1665 y que es (al menos hasta donde llegan mis noticias) el único testimonio conocido, se aparta en muchísimos casos de la versión manuscrita, que es la que tenemos aquí. Tengo bastantes motivos para pensar que esta versión es de puño y letra de Diego de Mendoza. Lleva su firma en una de las páginas preliminares, y se pueden reconocer los trazos de su firma en la forma de las letras, a lo largo del texto.
Epílogo
Como estudiante de posgrado en la UCLA, estudié los muchos mundos del Virreinato del Perú y quedé absolutamente fascinada con la Virgen de Copacabana. (Aún lo estoy.) Así fue como conocí por primera vez el trabajo del Dr. Andrés Eichmann Oehrli. Además de los diversos estudios que ha publicado sobre esta Virgen, también produjo, junto con su colega Hans van den Berg, O.S.A., una excelente edición de la Historia del célebre santuario de Nuestra Señora de Copacabana, escrita por el fraile agustino Alonso Ramos Gavilán y publicada en Lima en 1621. Aunque RBSC no conserva un ejemplar de la crónica de Ramos Gavilán, le pude mostrar al Dr. Eichmann nuestros ejemplares de dos obras relacionadas: Santuario de Nuestra Señora de Copacabana. Poema sacro, de Fernando de Valverde (Lima, 1641) y De diva virgine Copacauana in Peruano Novi Mundi regno celeberrima…, de Ippolito Marracci (Roma, 1656). Fue una alegría conocer finalmente en persona al Dr. Eichmann, y quiero agradecerle por su entusiasmo y generosidad. —PPQ
Meet a Visiting Researcher in Special Collections: Dr. Andrés Eichmann Oehrli
For those of us who work in Rare Books and Special Collections (RBSC), it is always a thrill to rediscover the books, manuscripts, ephemera, and other objects in our collections, and to recover the important stories they tell. Often, however, it is even more exciting to watch our patrons do the same. From inquisitive students of all ages, to researchers and scholars from near and far, they are the reason we preserve and steward these materials. Knowledge creation is a collaborative endeavor, and the Hesburgh Libraries strive to be at the center of it.
A beautiful example of the fruits of our mission occurred this past July when RBSC had the great honor of welcoming Dr. Andrés Eichmann Oehrli, a leading specialist in the literatures and intellectual histories of colonial Bolivia and Perú. Born and raised in Buenos Aires, Argentina, Dr. Eichmann attended Colegio San Miguel (Buenos Aires), earned his Bachelor of Arts from the Universidad Nacional de Cuyo (Mendoza, Argentina), and then his doctorate in Hispanic Philology from the Universidad de Navarra (Spain). He is a prolific author, having published numerous books (both monographs and scholarly editions), journal articles, and book chapters, and has edited more than twenty books and journal volumes. Currently, Dr. Eichmann is Professor of Literature at the Universidad Mayor de San Andrés; President of the Sociedad Boliviana de Estudios Clásicos; and Director of the journal Classica boliviana.
Dr. Andrés Eichmann Oehrli in the Reading Room, comparing a facsimile of Mendoza’s printed chronicle with RBSC’s manuscript version.
During his days in RBSC, Dr. Eichmann enthusiastically shared explanations of what he was seeing, reading, and learning. He plans to continue working with materials in our collections—in particular, manuscripts from the José Durand Peruvian History Collection—and hopes to inspire his students in Bolivia to do the same. He generously agreed to this brief interview in Spanish (translated into English with the help of Chat GTP).
PPQ: I understand that you came to Notre Dame for a research stay at the de Nicola Center for Ethics and Culture. Could you tell us a little about that program and your activities there?
AEO: I came to the de Nicola Center because it is a privileged place to learn about the current state of the best research being done on ethics and the intellectual traditions of the Christian world. I was part of a group of about 30 people from Chile, Bolivia, Ecuador, and Mexico, including master’s and doctoral students as well as professors from various universities. We came under the leadership of Dr. Joaquín García Huidobro from the Universidad de los Andes (Chile).
We spent two full weeks working from 8:00 a.m. to 8:00 p.m. We took turns so that each day one of us gave a brief talk […] After the talk, there was time for questions or comments. […] The other main task (aside from progressing in our own research) was to read someone else’s work each day […], offering our feedback and suggestions. This allowed each of us to broaden or, quite often, sharpen the focus or perspective of our own work. You learn a great deal this way, and it helps you make real progress. It’s a very enriching dynamic.
I came with the intention of advancing my study of neo-Stoicism in [the works of] 16th- and 17th-century authors from the Viceroyalty of Peru (especially what is now Bolivia). Neo-Stoicism is a school of thought that, at least in Spain and Spanish America, was closely linked to the reading of Seneca’s moral epistles and the works of Tacitus. I definitely made progress in what I had set out to do, but the discoveries in the Rare Books collection “forced” me to focus on them. I’ll return to neo-Stoicism later. These materials couldn’t wait.
PPQ: What were some of the most interesting materials you examined in Rare Books and Special Collections? How do they relate to your past and/or current research?
AEO: I was interested in texts produced in the Viceroyalty of Peru during the 17th and 18th centuries. As always happens with a collection you’re unfamiliar with, you arrive with certain expectations, but the most important thing is to be open to surprise. And that, without a doubt, is what I found.
For example, there are some short theatrical pieces from the 18th century, composed in Lima, which served to “open” a theatrical performance. In one of them, the names of the actors and actresses who performed it are listed. Among those names is “Michaela Villegas,” a well-known actress from Lima, nicknamed “La Perricholi.” These and other theatrical pieces caught my attention. In 2002, I was fortunate to find, in Potosí, together with my colleague Ignacio Arellano from the University of Navarra, 25 handwritten theatrical pieces. We published an edition of all of them in 2005. For this and other reasons, anything related to theatrical activity from that period is of particular interest to me. […]
PPQ: What was the most striking discovery you made? Do you plan to continue researching it?
MSH/LAT 0001, Box 1, Folder 33 (housed separately). Manuscript, Luis Antonio de Oviedo y Herrera, “La Vida de Santa Rosa de Lima […],” 18th century.
AEO: What surprised me the most were two handwritten volumes written by authors from the 17th century in the Viceroyalty of Peru. One is titled “Life of Saint Rose,” and it is actually called Life of Saint Rose of Saint Mary, native of Lima and patroness of Peru. Heroic Poem. It’s indeed an epic poem, written in ottava rima (as was standard), and it’s a fascinating piece that runs to 11,300 verses. The author, Luis Antonio de Oviedo y Herrera, was the magistrate (corregidor) of the Imperial City of Potosí, and while there he organized the festivities for the canonization of Saint Rose in 1672. Two 18th-century editions of the poem are known: one from Madrid (1711) and one from Mexico (1729). The manuscript used for the 1712 edition is housed at the Fundación Lázaro Galdiano. In Mexico, a separate manuscript wasn’t needed since they simply followed the Madrid edition exactly, with the same text layout per page. That’s what they logically did. But here, in Rare Books, we found another manuscript with a different textual layout, which, as far as we know, was never published. It’s surprising, authentic—a real rarity—and I’m determined to work on it.
MSH/LAT 0001, Box 1, Folder 16 (housed separately). Manuscript, Diego de Mendoza, “Chronica de la Provincia de San Antonio de los Charcas […],” 17th century.
The other find is a manuscript of over 800 pages. It’s the Chronicle of the Province of Saint Anthony of Charcas of the Order of Our Seraphic Father Saint Francis…, written by Fray Diego de Mendoza. The author is believed to have been born in Cusco, and we know he wrote the chronicle in a convent in that city. It’s an imposing work, full of scholarly references, consisting of three books. It was written primarily for edification: after presenting in the first book the general history of the Franciscan order in the Americas, and particularly in the province of Charcas (roughly what is now Bolivia), books II and III are devoted to presenting the “life and virtues” of a great many people—men and women, Spaniards, Creoles, and Indigenous people—who belonged to the Franciscan order (perhaps more accurately, “orders” in the plural).
What grabs my attention is that the printed text, published in Madrid in 1665, and (at least to my knowledge) the only known version, differs in many instances from the handwritten version we have here. I have several reasons to believe that this version is in Diego de Mendoza’s own handwriting. His signature appears on one of the preliminary pages, and you can recognize the traces of his signature style throughout the text.
Epilogue
As a graduate student at UCLA, I studied the many worlds of the Viceroyalty of Peru and was absolutely enthralled by the Virgin of Copacana. (I still am.) This is how I was first introduced to the work of Dr. Andrés Eichmann Oehrli. In addition to the various studies he has published on this Virgin, he also produced, with his colleague Hans van den Berg O.S.A., an excellent edition of the History of the Celebrated Sanctuary of Our Lady of Copacabana, written by the Augustian friar Alonso Ramos Gavilán, and published in Lima in 1621. While RBSC does not steward a copy of Ramos Gavilán’s chronicle, I was able to show Dr. Eichmann our examples of two related works: Fernando de Valverde’s Sanctuary of Our Lady of Copacabana. Sacred poem (Lima, 1641) and On the Divine Virgin of Copacabana, most celebrated in the Peruvian kingdom of the New World…, by Ippolito Marracci (Rome, 1656). It was a joy to finally meet Dr. Eichmann in person, and I want to thank him for his enthusiasm and generosity. —PPQ
Sir Thomas Phillipps, 1st Bt, by Alexander George Tod (albumen carte-de-visite, late 1860s-early 1870s)
National Portrait Gallery, London; Photographs Collection, NPG x12731
Few 19th-century antiquarians matched the obsession of English baronet Sir Thomas Phillipps (1792-1872). A self-described “vello-maniac” (lover of parchment), Phillipps spent his life and fortune amassing what became the largest manuscript collection of his time — over 60,000 manuscripts, plus 20,000 printed works.
Driven by a fear of biblioclasm, Phillipps’ believed he was preserving manuscripts from destruction. This, however, came at a great cost. Life at his estate, Middle Hill, was characterized both by the extreme debts and temper of its master. Phillipps feuded with nearly everyone, including neighbors, tradesmen, tax collectors, scholars, Catholics, curators, his father, wives, daughters, and especially his son-in-law, James Haliwell. Despite near-constant financial ruin, he continued to buy relentlessly, often enlisting his daughters to help catalog and transcribe his acquisitions.
The summer Spotlight Exhibit (running from May through August), Bibliomania: The Library of Sir Thomas Phillipps, features five items from this impressive collection.
Three of the items in this exhibit are medieval English documents known as “private charters” — that is, records of transactions between private citizens.
According to these documents, Ch_ang_01_12 (above) and Ch_ang_01_13 (below), on October 28, 1264, a man named Thomas conveyed vast tracts of land in Yorkshire to his daughters, Ramette and Berthe.
Despite his vast collection, Phillipps infamously rarely read the items in his library. Indeed, one of the great criticisms levied against the collector was that he simply hoarded manuscripts without the ability or interest to use them. An exception, however, were charters. Driven by a passion for genealogy, Phillipps was known to scour deeds for names and places for use in studies of pedigree, which he published with his own private press.
Yet, notwithstanding this personal interest, thousands of the deeds in his collection went uncatalogued during his lifetime. Only after his death did his grandson, Thomas FitzRoy Fenwick, receive legal permission to organize the collection for sale, at which point over 26,000 items were finally given their iconic Phillipps numbers. To streamline the process, Fenwick often gave the same number to related items, such as Ch_ang_01_12 and Ch_ang_01_13, both catalogued as Phillipps no. 27,951.
You can see the hand of Thomas FitzRoy Fenwick on the exterior of Ch_ang_01_09, the third charter in this exhibit. Ch_ang_01_09, which records a 14th century transaction between Robert of Cawthorne to Nicholas and Walter del Brom, is in its original “docketed” form — a pre-modern filing system in which documents were folded and labeled. Above the labels of “Scelmthorpe” (Skelmanthorpe, a nearby town) and “Lanc” (perhaps referencing the Lancaster family, lords of Skelmanthorpe), Fenwick wrote the number “29,202.” See the video below for how this charter unfolds!
Although Phillipps often described himself as a “vello-maniac,” he also owned many paper manuscripts. The other two items in this collection — both bound paper codices — tell us even more about the extensive Phillipps collection.
This French manuscript (MS Fr. c. 2) contains the poem “The Song of Bertrand of Guesclin,” one of the last examples of the Old French epic tradition. This Chanson, copied in 1464, tells the story of Breton noble Bertrand, who rose to fame during the Hundred Years War. Phillipps acquired this copy from the library of Richard Heber (d. 1833). Though unable to afford the 1,700 manuscripts in the collection, Phillipps persuaded the auction house to postpone sale until he could amass the appropriate funds, which he finally did in 1836. The shelfmark affixed to the spine, by Phillipps or his daughters, identifies this manuscript as the 8,194th item in his library.
Finally, although you might associate the early modern era with the advent of the printing press, people continued to write the majority of their works by hand for centuries. The final item in this collection is one such manuscript.
In 18th century Europe, vampirism was a hotly debated topic. The concern was so great that in 1739 Pope Clement XII asked Giuseppi Antonio Davanzati to examine the subject. Though skeptical of such creatures, Davanzati’s Dissertazione sopra I Vampiri (MSE/EM 1005-1B) is often credited with introducing the word vampire to the Italian language.
In his first catalogue of his library, Phillipps claimed to have acquired this copy of the Dissertazione (Phillipps no. 5,485) in 1830, when he purchased 1,560 items from the library of Frederick North, 5th Earl of Guilford (d. 1827). The manuscript does not appear in the original catalogue of the Guilford sale (Phillipps claims it was included informally), and so we must take him at his word.
Upon his death, Phillipps’ will mandated that his collection never be separated, nor that any Catholic ever be permitted to view the collection. These wishes proved untenable, and over the next century, his vast library was slowly dispersed. Today, as this exhibit attests, fragments of his hoard reside in institutions worldwide — including the Hesburgh Library.
After earning a Ph.D. in Medieval Studies at the University of Notre Dame, Anne Crafton undertook a postdoctoral fellowship in the Hesburgh Libraries’ Rare Books and Special Collections (RBSC), where she spent a year cataloging a diverse collection of previously undocumented materials. The opportunity was made possible through the College of Arts & Letters’ 5+1 postdoctoral fellowship program, which offers a postdoctoral fellowship to any student who finishes and submits their dissertation in five years.
During the Middle Ages, the sermon was the most influential vehicle for religious and moral instruction: virtues, vices, canon law, and living the faith all reached the masses in urban centers through preaching. The term arspraedicandi (art of preaching) describes the literary genre of treatises that provide techniques (artes) and instruction for preaching. In addition to the composition of the sermon, artes praedicandi also address how a preacher should comport himself, what to study, and even how to speak and gesture while preaching. Numerous treatises from the twelfth- and thirteenth-century on the topic survive composed by well-known masters like Alan of Lille, Richard of Thetford, Humbert of Romans, and Ranulf Higden, but many anonymous examples exist.
The June-July spotlight exhibit displays a medieval sermon composed from a variety of preaching aids and sourcebooks, and emphasizes a few of the many items from the Hesburgh Library’s collection of medieval manuscripts created for and used by actual medieval preachers.
During the thirteenth century a new, more thematic type of sermon originated in the medieval universities, particularly the University of Paris: the scholastic sermon (sermomodernus). Likewise, new religious orders focused on preaching were created: namely the Franciscans in 1209 and Dominicans in 1216, who were in need of instruction and books. This resulted, especially in Paris, in an outpouring of different types of manuscripts need for sermon composition and preaching. Pandect Bibles (all biblical books in one volume) became pocket sized and portable, and a host of preaching aids were produced. For example, knowledge was systematized into reference manuals (summae) and textual anthologies (florilegia), both of which were used in composing sermons.
According to Sigfried Wenzel’s method of analysis (2015), a typical scholastic sermon can be outlined like this:
Thema is announced (quote from Scripture that the sermon builds on) Protheme (prepares audience and capture their good will) Oratio (prayer for divine assistance, often Hail Mary or Our Father) Thema is repeated Bridge passage (adapts the thema to the intention of the sermon) Introductio thematis (why the thema was a good choice; helped by proverb, simile, quote, story) Diuisio thematis (thema divided into parts; meaning of the thema unfolded) Confirmatio (confirmation or proof of divisions; often with sentence from Scripture) Prosecutio (thema developed with subdivision, subdistinction, elaboration, examples, etc.) Vnitio (combination of all the parts) Conclusio (closing formula with a prayer asking for God’s grace)
Some sermon collections enjoyed broad circulation and different traditions of use. For example, ca. 1240 Philip the Chancellor composed 330 scholastic sermons on the Psalms while he was chancellor of the Cathedral of Notre Dame in Paris. These sermons originated within the university milieu, but continued to have a robust afterlife. The fragmentary copy currently in the Hesburgh Library’s collection (cod. Lat. b. 11), once was part of the Servite Library at San Marcello al Corso in Rome ca. 1382–1402, where it was used in the formation of its novices despite being over one hundred forty years old. The Servites added an ownership inscription when the manuscript entered the collection at San Marcello. By 1402 the starving friars were selling books to survive and the library burned down in 1519. A later owner erased the inscription and obscured the medieval provenance of the manuscript, which was later dismembered in Cleveland, Ohio by biblioclast Otto F. Ege. Using ultraviolet light, the erased text can be revealed and for the first time the Servites’s ownership is known.
Cod. Lat b. 11. Ultraviolet light reveals the erased inscription: conuentus sancti Marcelli alme urbis Seruorum sancte Marie. The inscription identifies the Servites of San Marcello al Corso as former owners of this sermon collection.
Best wishes to the 2025 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 students who worked for Special Collections during their time on campus:
Lucas Bernardez (ND ’25), Bachelor of Business Administration in Business Analytics
Claire Bosch (ND ’25), Bachelor of Arts in History and Theology
Caterina Calderon Gonzalez (ND ’25), Bachelor of Business Administration in Finance, with a Supplementary Major in Applied and Computational Mathematics and Statistics
José Hurtado (ND ’25), Bachelor of Architecture
Kendall Manning (ND ’25), Bachelor of Arts in English and Political Science
Andres Mena Carroll (ND ’25), Bachelor of Science in Mechanical Engineering
Maeva Morro (ND ’25), Bachelor of Business Administration in Marketing
Jorge Ruiz Valdivia (ND ’25), Bachelor of Business Administration in Finance, with a Supplementary Major in Applied and Computational Mathematics and Statistics
Anna Sofia Sanson Zoufaly (ND ’25), Bachelor of Science in Chemical Engineering
Both images: MSE/EM 110-1B, Diploma, University of Padua, 1690
RBSC will be closed next Monday, May 26, for Memorial Day.
