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Consolatory epistle of Warm, Cool, & Lukewarm & together a lie: An Analysis by Mary Parker

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Mary ClarkMary Parker, a student in Dr. Rabia Gregory's History of Christianity class, is sharing her paper on an incunable from Special Collections. We're using her words and images with permission. – KH

Girolamo Savonarola, author of this epistola, was born to a well off family from Padua with his grandfather being a physician and professor at a medical college. Girolamo planned to study medicine as his grandfather had after getting his bachelor’s degree, but instead dropped out to join a Dominican monastery in Bologna without informing his family of his decision until he was already gone (Kirsch 2015).

From early in his life Girolamo felt strongly about the “depravity” of the era that he was living in. After years of study in the monastery and in Ferrara, he was sent to Florence to preach. His career took off after he became prior at the monastery of San Marco. While there, he preached strongly against paganism and the immoral life of many Florentines, as well as against the Medici’s, current rulers of Florence (Amelung 2015).

When Lorenzo de ’Medici died, Savonarola developed into a political as well as a religious leader and began thinking of setting up a theocracy of sorts. His sermons were often very biting and intense as he preached against the immoral life of members of the Roman Curia, against Pope Alexander VI, and against the evils of princes and courtiers. The Medici family was driven out of power due to the people’s hatred of the family’s tyranny and immoral lives. The French king ended up coming to Florence and setting up a theocratic democracy with Christ being the King of Florence and a council that represented all citizens. Girolamo was not directly involved with the government but his sermons and teachings held large influence in the city. Eventually, a sort of moral police force was set up that spied on and denounced people who did not follow the moral guidelines put forth by Girolamo (Kirsch 2015).

His daring and passionate sermons eventually lead to a conflict with Pope Alexander VI. In 1495, the pope commanded Girolamo to go to Rome and defend himself against all of the accusations held against him. He declined saying that his health prevented him and that the journey would be too dangerous. Shortly after, the Pope declared that Girolamo was no longer allowed to preach and that he also could no longer be the prior of the San Marco monastery. Girolamo attempted to justify his actions; and when it came to his preaching, he said he always submitted himself to the Church. A new papal Brief was written that maintained his ban on preaching but judged easily his actions (Encyclopædia Britannica Inc. 2015).

Girolamo disobediently still preached in Florence with sermons that were strongly against the so called crimes of Rome. All this lead to a possible schism in the Church; therefore, the Pope needed to step in and do something. Girolamo was eventually excommunicated in 1497, but this did not stop Girolamo from celebrating Mass on Christmas Day, distributing Holy Communion, and then subsequently preaching in the cathedral. While all this was occurring, opponents to Girolamo were becoming more powerful and after an attempt at an ordeal by fire; the general people began to turn against Girolamo. The San Marco monastery was attached and he was taken prisoner and eventually condemned to death "on account of the enormous crimes of which they had been convicted". He was then hanged and after his body was burnt at the stake (Kirsch 2015).

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Epistola consolatoria de Caldi, Freddi, & Tiepidi & una frottola insieme is thought to have been published in 1496 by Lorenzo Morgiani and Johann Petri, which means that Girolamo most likely preached this sermon after the second papal Brief commanded him to no longer preach. The epistola is largely speaking about being a lukewarm Christian or even falling prey to Satan’s deceit as can be seen in the later part of my attempt at a translation of the first page of the epistola.

The prophets of Jerusalem went forth: Hyere. xxiii. I Pensado, in happy mood, turn to judge you and see what creatures you are, and the misnomers of this problem should be finally resolved. That what each man deserves to be attributed to him, he will surely now know. To see whether to his benefit he will be shown as great by the creator, the power of the infinite glory of Heaven eternal and its benefits; but being such brutish animals man lives in denial and his mortal needs cause him to undergo more uncomfortable dangers and miseries than other animals undergo. Whereupon complaining Pliny said, sometimes double barked trees have to protect themselves from the heat and the cold found in nature. But man does not have this protection and from birth is naked, wailing and crying in such an excellent fashion. Neither does man have any thoughts from birth. But the nanny stays close like a magnet and protects the child above all else and sympathizes with the baby, protects them from many deadly things, guides them to discover their fate, and tries to get them to avoid fighting and conflicts. Fighting leads to such brutality. But no man should arise into a place of so many evils. However, that Lucifer being deprived of the Glory immortal designs for all humans to live mediocrely and hence end up in deadly misery for a thousand years: after ones first actions it is easier to warn them of the decline that leads to the eternal and deep abyss. Wherefore, be sober and watchful in prayer: surround yourselves with the few nurturing less our adversary Satan as lion come bellowing and devour you. And some said the apostle: Do you know the height of Satan himself is transformed into an angel of light (Savonarola 1496).

From this translation, it appears that Girolamo is fighting against the Catholic Church becoming corrupted by those who have no zeal for Christianity. He is angry not only with the church but also with members of the public who were perhaps not protecting themselves against the worldliness of the time. He was strongly concerned with God’s judgement on the city of Florence for its wickedness and was passionate about the Church regenerating to Holier form (Passaro 2006). He was also extremely zealous regarding the salvation of lost souls and was obviously willing to risk his life for this task. From this sermon, he also felt that Christians and non-Christians alike needed to watch and prepare for Satan’s temptations lest they be taken and destroy for falling prey to them (Kirsch 2015).

clark2clark3The Epistola Consolatoria De Caldi Freddi & Tiepi is bound in brown leather decorated with gold leaf of which Dr. Barabtarlo spoke about during her lectures. The inside cover has a red flowered, stamp design that is simple and beautiful. The book was used often as seen by the external binding being rather beat up on the edges and the internal markings from users’ fingers. One of the original pages is torn out and has been replaced by a printed copy of the original page. There are no comments from anyone besides librarians. There are a total of twelve printed pages with seven of those being Girolamo’s sermon and the other four being a frottola, Italian secular song popular in the late 15th and early 16th centuries.

There were only approximately fifteen printers in Florence during the decade of 1490 with only four of these printing prolifically (University of Minnesota n.d.). The epistola by Girolamo was printed by one of these, namely the firm of Lorenzo di Morgiani and Giovanni di Piero di Maganza (Johannes Petri of Mentz). In 1495, Morgiani and Petri were working for Pacini, who commissioned what is said to be the greatest Florentine illustrated book of the century (Hoyt 1939). The epistola referenced here was not of this luxurious quality however. It is more likely that it was used to spread Girolamo’s preaching to the middle class citizens of Florence.

At the start of Girolamo’s career he was full of zealous desire for the renewal of religious life in Italy. His strong preaching and teachings led him to offend many powerful people including the pope. He was an extremely notable religious leader during the pre-Reformations era, and this can be seen through his printed documents such as the one analyzed here.  

Bibliography

Amelung, Dr. Peter. 2015. BRILL. November 2. http://www.brill.com/girolamo-savonarola-religious-and-political-reformer.

Encyclopædia Britannica Inc. . 2015. Encyclopædia Britannica Online. November 2. http://www.britannica.com/biography/Girolamo-Savonarola.

Hoyt, Anna C. 1939. "BULLETIN OF’ THE MUSEUM OF FINE ARTS ." VOLUME XXXVII , August : 62.

Kirsch, Johann Peter. 2015. Girolamo Savonarola. November 3. http://www.newadvent.org/cathen/13490a.htm.

Passaro, Anne Borelli and Maria Pastore. 2006. Selected Writings of Girolamo Savonarola. New Haven and London: Yale University Press.

Savonarola, Girolamo. 1496. Epistola consolatoria de caldi, freddi, & tiepidi & una frottola insieme. Florence: Lorenzo Morgiani and Johann Petri.

University of Minnesota. n.d. "Portfolio Artistic Monographs, Issue 12." 54-55. Seeley and Co., 1894.

 

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Posted in Classes, Learning through Special Collections, Rare Book Collection, Special Collections, Teaching with rare books

Teaching Spotlight : Professor Johanna Kramer, March 2014

Energetic, youthful, admired by her students, Professor Johanna Kramer is our guest for the month of March.

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Professor Kramer, please, tell us about yourself.

I am an assistant professor in the English Department. My area of specialization is Anglo-Saxon literature and culture. In my research I am most interested in Old English religious literature, especially homilies and saints’ lives, the transmission of patristic theology into vernacular poetry and prose, and popular religious texts and practices.

My first book, Between Earth and Heaven: Liminality and the Ascension of Christ in Anglo-Saxon Literature, a study of the ways in which the theology of the Ascension is taught and visualized in a wide range of Anglo-Saxon texts, will be published at the end of March by Manchester University Press.

 

At MU, I teach classes that concern the early Middle Ages, Anglo-Saxon England, and the history of English, for example, Women in the Early Middle Ages, World of the Vikings, Introduction to Old English, and History of the English Language as well as graduate seminars on various topics in Anglo-Saxon and other medieval literature.

How did you incorporate Special Collections into your teaching?

I take almost all of my undergraduate classes for visits to Special Collections. I take my students so that they can have at least minimal exposure to actual medieval materials. I want them to see what different types of medieval manuscripts look like (liturgical, biblical, philosophical, etc.), get a basic sense of manuscript production (both codicology and paleography), and recognize different writing surfaces (papyrus, parchment, even clay). Since I teach in an area—medieval literature—in which primary sources in their original form are not very accessible to students, showing them some of the wonderful materials we have at SC is a small way in which I can have students share the same space and even get in physical contact with manuscripts that were produced a thousand or more years ago. This way, students also become more alert to the fact that the original formats in which we find texts are radically different from the neatly edited and translated versions that students read in class. Aside from seeing what various medieval codices and scripts look like, students get the opportunity to see some of the beautiful illuminations and other depictions that accompany texts, be it a whimsical decoration of an initial, a miniature showing a biblical scene (like the Ascension at the opening of Acts), or a woodcut in an early printed book (like the cityscape of Nürnberg).

What outcomes resulted from your class visits? What were the effects on your students?

Students are typically blown away by what they see. The immediate encounter with medieval manuscripts really opens up their perspective of what “a book” is or looks like. Students tend to be especially intrigued by items that get them close to the human side of manuscript production. Thus, for example, many students love the notarial registry (La Turade), a well worn, leather-bound notebook with lots of professional notarial entries in varying scripts made at different times. Students may have a sense of elaborately decorated medieval manuscript, but the quotidian nature of an item like this registry is exciting on a different level and connects students on a more human level across a vast gap in time to the individuals who were originally writing these texts. Similarly, therefore, they love seeing marginal notes or little pointing hands drawn in the margins of manuscripts where medieval readers took note of remarkable passages (which makes students think twice about what they might write into the margins of their own books!). Another aspect that always impresses students is the sheer materiality of manuscripts. Seeing hair follicles and the remnants of veins in parchment, feeling parchment—both the silky, paper-thin kind and the thick, rough, and stiff kind—noting holes in the parchment, all of these aspects speak to the physical nature of the making of a book and the “live” origins of its component parts.

Johanna Kramer and children, January 2014

What advice would you give to faculty or instructors interested in using Special Collections in their courses?

There might be some hesitation to take a class to SC when an instructor does not expect the students to do a particular project or use specific holdings. In my view, there is always a benefit of taking students, whether a research project follows or not. Exposing students to resources that are unfamiliar to them is a valuable service we provide through our teaching. Equally, in my classroom instruction, I introduce students to select scholarship in my field, whether they end up incorporating it in a paper or not. Just knowing that this kind of scholarship exists and knowing that one could be interested in it and get excited about it is worthwhile demonstrating to our students. It’s part of our responsibility as teachers and scholars to model such interest and excitement for our students, and we can do that by showing them the widest possible range of resources, including the wonders of SC.

 

 

Posted in Classes, Learning through Special Collections, Special Collections, Spotlight, Teaching with rare books

Teaching Spotlight, February 2014: Rebecca Mouser

 

Dr. Rebecca Mouser, a Postdoctoral Fellow in the Department of English is our guest for the Teaching Spotlight this month.

Could you tell us a bit about yourself?

Rebecca

I am a postdoctoral fellow in the English department. My research focuses primarily on oral tradition in the Middle Ages; my recent dissertation explores oral tradition in the fourteenth-century alliterative romances such as Sir Gawain and the Green Knight and the Morte Arthure. Outside of my studies, I mostly spend my time with my two dogs, Isabelle (a Boxer) and Hermann (a German Shepherd).

dog

While at MU, I have taught several literature courses, including English 1210 (Introduction to British Literature), English 2100 (Writing about Literature), English 3200 (British Literature: Beginnings to 1784), and English 4210 (Medieval Literature: The Age of Chaucer).

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Chaucer's Boece, Fragmenta Manuscripta # 150,

In each of these courses, I stress the material culture of the various time periods as well as the historical and literary culture. We often discuss oral tradition and the development of literary texts. My hope is that students can see that the text goes beyond the page, and that the artifacts that survive can help us to interpret that larger text.

 

What materials or collections did your students work with?

 

My students usually view and work with a variety of manuscripts from the twelfth through fifteenth centuries. We discuss the development of various writing materials such as parchment as well as the various inks used. The manuscripts are both individual leaves of parchment and codices. I tend to bring my students to view the material culture of the Middle Ages (pre-16th century).

 

What outcomes resulted from you class visits? What were the effects on your students?

 

During my last visit to Special Collections, my students composed essays about the experience. Many of them stated that seeing the actual manuscripts helped them to conceptualize the Middle Ages as an actual place in time rather than an abstract idea of pastness. They really enjoyed learning about various ingredients used for ink as well. One student in particular chose a final writing project where she could work with digital manuscript images in her exploration of the idea of “fate” in Chaucer’s works. Overall, most of my students are excited about the experience and express the desire to return at some point on their own.

 

What advice would you give to colleagues interested in using Special Collections in their courses?

 

I think that the most important advice I would have is to take students to Special Collections, even if you are not yet sure of what you hope they will discover. The librarians are extremely helpful in setting up the session, providing ideas for what materials to view as well as brainstorming assignments. I always provide my syllabus before the session to help them to cater to my class. 

 

 

 

 

 

 

 

 

Posted in Classes, Special Collections, Spotlight

Teacher spotlight: December 2012— Dr. James Terry, Art History professor from Stephens College

Today our guest in Teacher Spotlight is Dr. James Terry, professor of Art History at Stephens College. Professor Terry regularly brings his Renaissance and Baroque class to Special Collections. We were delighted when he agreed to step into our Spotlight today. We’ve queried him about his teaching philosophy, inspirations, academic interests, and put to him our standard question about the way he incorporates Special Collections into his teaching. Here is his response:

James Terry. Art History class

I like to get my art history students out of the classroom as often as I can–whether that’s a visit to the MU Museum, the local mosque, the Christopher Wren church in Fulton, or an artist’s studio, art gallery or exhibition. A visit to Special Collections at Ellis Library is always a highlight for the students in my Renaissance and Baroque Art course at Stephens College.

Most of them have never handled a 500-year old book–or any fine, handmade, pre-industrial object. It puts them in touch with the material (quite literally). Of course, they are amazed by the engravings and woodcuts, and even the quality of the paper and bindings. I expect that many of them had never considered the possibility that a book can also be a work of art–but they certainly understood that by the end of our recent visit.

Students today spend so much time looking at digitized *pictures* of things, but they don’t have nearly enough experience interacting with real objects.

I would recommend that all college instructors–whether in the humanities, sciences, business or whatever–visit Special Collections at Ellis and find out what treasures the library holds that might relate to your field. Then find a way to get your students over for a visit.  All librarians in Special Collections are very generous and accommodating, and will work with you to set up an eye-opening experience for your students.

 

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Teacher Spotlight: September 2012 Edition – Dr. Rabia Gregory

Dr. Rabia Gregory, an assistant professor in the Religious Studies department at the University of Missouri, is the focus of the first Teacher Spotlight of the new school year.  Her primary interest is in medieval women’s religious literature, and she can often be found teaching courses at Mizzou on Historical Christianity, and Women and Religions.  Dr. Gregory is a frequent visitor to Special Collections and has often brought her classes to learn about the primary sources we have here.  We were pleased to get a chance to talk to her at the beginning of the semester.

SC: How have you incorporated Special Collections into your teaching?

Gregory: I initially only took upper-level and graduate seminars to Special Collections and designed the visits to help students learn to work with sources in the original. Last spring I attempted to bring a large introductory lecture course to Special Collections.  I designed a new assignment asking the undergraduates to spend time with a manuscript or an early printed book and then write about it as if they were, themselves, professional historians.

SC: What sort of outcomes or effects on your students have you observed after visiting the Special Collections department?

Gregory: I noticed a variety of responses, particularly with the large lecture class. Some students were so excited that they snapped photos of manuscripts to share with old teachers or with family members. Others came back to visit with friends and classmates. And some were completely disinterested, trying to sneak out of the room even before class was over. Learning how books were made and used really changed the ways that my class responded to primary sources in translation. They less frequently asked "why" different sources offered competing versions of history or why miracles were recorded. Instead they were interested in why those versions of history had been considered important enough to put into something so expensive and time-consuming as a manuscript.

SC: What advice would you give to faculty or instructors interested in using Special Collections in their courses?

Gregory: Plan ahead, make sure that the visit has a clear pedagogic purpose for your class and that the students have a way of finding meaning from the objects they will (most likely) not be able to read. Do talk with the Special Collections staff and get their input on the assignments, a semester in advance if you can! And make sure that you explain clearly to your students and teaching assistants the purpose of the assignment.

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