home Resources and Services, Special Collections and Archives What’s the oldest item in Special Collections?

What’s the oldest item in Special Collections?

We get this question a lot – and we posed it as a multiple-choice trivia question this week on our Facebook page.  Now it’s time to reveal the answer.   Which is the oldest item in Special Collections?

And the winner is… The Mesopotamian Clay Tablet

tablet9-1_smAs far as we know, this cuneiform tablet dates to around 2500 B.C.E., making it the oldest item held in Special Collections (it predates the next oldest item, an Egyptian scarab seal, by about 500 years).

This tablet is one of eight held in the Special Collections department.  Although the other seven tablets have been translated, this one has never been deciphered.  If you read any of the ancient Near Eastern dialects, we’d love to hear from you!

For more information about the cuneiform tablets in Special Collections, see the online exhibit Cuneiform Tablets: Records of Ancient Mesopotamia see the list on our website [digital exhibit retired; link updated 11/10/2014].

 

What about the other options?

This was a tough question, because all of the items were the oldest in one way or another.  More information below.

The Hebrew Scroll

IMG_6313If you guessed that the scroll represents the oldest book form in Special Collections, you were right!  The scroll predated the codex (the form we usually associate with a book nowadays) by thousands of years.

In most of the Western world, the codex replaced the scroll gradually, from around 300 to 500 A.D.  However, among Jewish communities, the scroll retained its place as the primary form for storing and transmitting information.  Jewish congregations still use temple scrolls produced to strict specifications in their rituals of worship.

Although it’s old, this parchment scroll is far from ancient.  It dates from the 1600s, contains the Book of Ruth, and was probably not produced for temple reading.  It fits conveniently into the hand, the perfect size for personal study.

The Latin Manuscript Codex

IMG_6304This manuscript copy of De Constructione by Priscianus dates to around 1150 A.D.  Although Special Collections holds manuscript fragments that are older, this is the oldest complete book in the collection.  It is a work on grammar, written in Latin with passages in Greek.IMG_6302

The binding of this manuscript was done later than the text, but it is also interesting because it’s a good example of a fifteenth-century German binding in blind-tooled pigskin.  The back board still shows discoloration from the former site of a metal clasp.

The Egyptian Papyrus Fragment

IMG_6319Dating from approximately 1500-1100 B.C.E., this fragment from the Egyptian Book of the Dead isn’t the oldest item in Special Collections – but it is the oldest piece of writing on papyrus in Special Collections.

Papyrus is a plant that grows along the marshy banks of the Nile River, and the ancient Egyptians used it to make a paper-like substance for writing.  Papyrus became one of Egypt’s main exports and was used throughout the ancient world, in Greece, modern-day Turkey, and the Middle East.

 

Tuesday Trivia

question marksThis semester, get acquainted with Special Collections and Rare Books by playing Tuesday Trivia!  Each week, we’ll post a question on our Facebook page.  Be the first to leave a comment on Facebook with the correct answer, and we’ll send you a Special Collections bookmark.  At the end of each month, the person with the most correct answers will win a “grand prize” – including packs of Special Collections notecards, publications, and more.

We’ve designed these questions to challenge you, but a hint: most of the answers can be found on the Special Collections website, in the MERLIN library catalog, or in the UM Digital Library.

Stay tuned for the first Tuesday Trivia question!

Welcome Back, Students!

Fall is in the air, and students are everywhere!  As we welcome members of this record-breaking freshman class, it may be interesting to see how their predecessors dealt with the first weeks of classes at MU twenty-five, fifty, and even 100 years ago.

100 Years AgoSavitar, 1911

The Savitar yearbook published a fictitious freshman's diary in 1911, which describes in humorous and exaggerated terms the experiences of a bumbling new student from rural Hemlock, Missouri.  He describes his first sight of the Quad, and the now-defunct tradition of freshman beanies:

The schoolhouses are all set around just like the town square at Hemlock except that there are six pillars covered with vines in the middle.  As soon as I came up on the walk on the square, some fellows grabbed me and made me shine shoes.  There are big signs pasted all over telling the freshmen to buy caps.  They tell me that I'll have to wear a red one but I won't do it because my hair is red. [see source online]

The university bulletin for 1911 records a total enrollment of 2,956 students in the Columbia campus.  One hundred years later, enrollment at MU is more than ten times that number.

50 Years Ago

Construction Nears End on Arts & Science BuildingThe current student newspaper, the Maneater, was in publication by 1955.  In the first week of classes in 1961, it reported that the new Arts and Science Building was nearing completion and would be in use later that semester. The new building would feature a language laboratory, increased classroom space, a public address and intercom system, and a special classroom equipped with closed-circuit television. And – perhaps most importantly – air conditioning.

The Arts and Science Building was home to the departments of English, History, German and Russian, and Romance Languages when it opened in 1961.  Classrooms and office space for these departments had previously been in Jesse Hall.

25 Years Agomaneater1986_lg

During the first week of classes in 1986, the Maneater documented registration delays.  Long lines of students snaked through the stairwells and corridors of Brady Commons, and the newspaper commented:

Director of Admissions Gary L. Smith said when the first online computers were used for registering students in April of 1985, approximately 40 to 50 students could be registered in five minutes.  But things were going a lot slower this week at Brady.

Student registrations were taxing the processing power of MU's relatively new computer network, causing the slowdown.  Over the past 25 years, various computerized registration systems have made waiting in line at Brady Commons obsolete – and Brady itself has become part of the new Student Center.

Want to Know More?

Records of of past student life, including documents, publications, photos, and memorabilia, are at the University ArchivesSpecial Collections also holds the student publications mentioned above, and over 100 years of the Savitar (1891-2000) are available in the University of Missouri Digital Library.

Instructor Resources

Don’t forget!  Special Collections is offering information sessions for instructors and new faculty in Ellis Library in the coming week.  Topics will include:

  • Specific materials and collections with potential for use in class visits or assignments
  • Instruction services offered by Special Collections – with opportunities for feedback and suggestions from workshop participants
  • Ideas for developing students’ research skills, visual literacy, and creativity, using Special Collections materials

Preview  the workshop and register online, or contact Kelli Hansen to schedule a session for specific departments, groups, or courses.

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Kelli Hansen

Kelli Hansen is head of the Special Collections and Rare Books department.

home Resources and Services, Special Collections and Archives Historical Remarks on the Castle of the Bastille

Historical Remarks on the Castle of the Bastille

The Bastille: “a place even the innocent must be afraid of.”[1] Parisians whispered of the prison’s rat-infested dungeons, torture machines, bread-and-water rations, and secret murder-rooms from which no prisoner ever emerged.

The Bastille embodied the French monarchy’s despotic rule, and as such, it was the first institutional casualty of the French Revolution. On today’s date in 1789, a mob of insurgents stormed the Bastille, liberated the few prisoners that remained, and massacred the guards, prison directors, and other staff.

Fear and Rumors

Illustration of the Bastille, from the 1789 English editionAlthough the Bastille could only hold around 50 prisoners, the rumors and mystery that surrounded it caused the prison to loom large in French culture. Rebellious subjects, religious dissenters, journalists, common criminals and those who simply incurred the king’s displeasure were all confined there. No one really knew what happened in the Bastille; prisoners were forced to take an oath of secrecy, promising never to divulge anything they saw or heard while inside the walls.

In 1715, Constantin de Renneville, a spy who was imprisoned in the Bastille for eleven years, was the first to break the oath. Writing from the safety of England, Renneville published a dramaticized chronicle of his sufferings entitled L'inquisition Françoise, ou, l'histoire de la Bastille.

Following Renneville’s example, former Bastille inmates published tell-all pamphlets at sporadic intervals throughout the eighteenth century. These tales fueled the fear and speculation surrounding the prison. Were the pamphlets simply the sensationalized stories of a few unfortunates? Or did they tell of typical experiences at the Bastille? No one knew.

Bringing the Bastille to Light

Title page for the 1780 English editionIn 1774, a different type of pamphlet was published: Remarques historiques et anecdotes sur le château de la Bastille. The anonymous author described the Bastille in “seemingly objective terms, systematically and with exact figures (including a ground plan), and presenting individual cases only in an appendix.”[2]

Like earlier anti-Bastille pamphlets, Remarques historiques was soon translated, becoming Historical Remarks on the Castle of the Bastille in English. For the first time, Europe saw, in relatively matter-of-fact terms, the treatment to which state prisoners were subject.

All the towers are closed below by strong double doors, with large bolts let into enormous locks. The dungeons under the towers are filled with a mud which exhales the most offensive scent. They are the resort of toads, newts, rats, and spiders. In a corner of each is a camp bed, formed of iron bars, soldered into the wall, with some planks laid upon them. In these are put prisoners whom they wish to intimidate, and a little straw is given them for their bed. Two doors, each seven inches thick, one over the other, close these dark deGround plan of the Bastille, from the 1780 English editionns: each has two great bolts, and as many locks. … There are five ranks of chambers. The most dreadful next to the dungeons, are those in which are iron cages or dungeons. Of these there are three. These cages are formed of beams lined with strong iron plates. They are six feet by eight.[3]

Torture chambers and murder rooms fail to appear in this description of the prison, and the author notes that “It sometimes happens that prisoners die in the Bastille by secret means; but the instances are rare.”[4] Historical Remarks also includes precise descriptions of the prisoners’ furnishings, provisions, health care, and communication with the outside world.

Revolution

Remarques historiques was quickly banned in France, but not before it had an effect. The precise details in the pamphlet injected a dose of reason into sensationalist anti-Bastille journalism and galvanized the underground press into a more radical and intense criticism of the government.

Title page for the 1789 English editionIn the rest of Europe, the pamphlet gained acceptance as a true and accurate depiction of the Bastille. English editions of the pamphlet came out in 1780 and 1784, and a new translation was issued after the storming of the Bastille in 1789. The English criminologist and reformer John Howard endorsed it as “the best account of this celebrated structure ever published” and included content from the pamphlet in his survey of European penitentiaries.[5]

The revolutionaries that conquered the Bastille in 1789 paraded through the streets of Paris with keys, weapons, and the heads of prison guards and officials on pikes. Demolition of the hated structure began that very night, and within six months, the prison had disappeared. Today, only the foundations remain.

 

 

Read More

Historical Remarks on the Castle of the Bastille. London: Printed for T. Cadell and N. Conant.
1780 Edition | 1784 Edition | 1789 Edition

Hans-Jürgen Lüsenbrink and Rolf Reichardt. The Bastille: A History of a Symbol of Despotism and Freedom. (Durham, NC, 1997). DC167.5 .L8713 1997

Christopher Prendergast. The Fourteenth of July. (London, 2008). DC167 .P74 2008


[1] Extract from a letter, 15 July 1789, quoted in Lüsenbrink and Reichardt, The Bastille: A History of a Symbol of Despotism and Freedom (Durham, NC, 1997), 13.
[2] Lüsenbrink and Reichardt, 18.
[3] Historical Remarks (1780), 5-6.
[4] Historical Remarks (1789), 55.
[5] Historical Remarks (1789), title page.

 

 

 

Happy Geek Pride Day!

Did you know today is International Geek Pride Day?  Here in Special Collections, we’re celebrating with a selection from the Comic Art Collection.  This collection contains over 3,500 catalogued comic book titles and hundreds of pieces of original art from cartoonists like Mort Walker, Frank Stack, and John Tinney McCutcheon, ranging in date from the 1850s to the present.

The Comic Art Collection unites fun and fandom with serious scholarship.  It has been used by faculty and students for everything from freshman composition assignments to studies of the history of popular culture.  In 2008, scholars, comic enthusiasts, artists, and students of all interests demonstrated the collection's broad appeal by convening at Ellis Library to celebrate 75 years of the comic strip Alley Oop.  Special Collections holds the papers of the comic strip's creator, V.T. Hamlin.

{click any image to start slide show}

Cover from the original Star Wars comic, 1977Cover from Captain America, 1968Cover from a 1987 Batman comicCover from a 1988 Action Comics with SupermanIllustration from a Buck Rogers comic, 1940sCover from Red Ryder Comics, 1942Illustration from Dick Tracy, 1943Cover from Flash Gordon, 1950Cover from a comic book edition of Edgar Rice Burrough's Tarzan,  1960Cover from an Alley Oop comic book, 1955Illustration from a comic version of The Hobbit by J.R.R. Tolkien, 2001Cover for Fray by Joss Whedon, 2003

 

 

  

 

 

 

 

The Comic Art Collection is open to the public in the Special Collections Reading Room. All patrons – geeks and non-geeks alike – are welcome to make use of these materials.

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Kelli Hansen

Kelli Hansen is head of the Special Collections and Rare Books department.

home Resources and Services, Special Collections and Archives Presses and Preachers, or, What an Incunable Can Tell Us about Technology and Faith

Presses and Preachers, or, What an Incunable Can Tell Us about Technology and Faith

The Special Collections and Rare Book department recently acquired four incunables,[1] and we’ll be featuring them individually on the blog.  This post highlights Sermones de adventu by Roberto Caracciolo (Venice, 1474), a book interesting for what it can tell us about religion and technology.

Renaissance Preachers

Author's nameThe author of this book, Fra Roberto Caracciolo de Lecce, was one of the most successful preachers of the fifteenth century, hailed as a “second St. Paul” for his oratorical talents.

As a preacher, Caracciolo’s crowd-pleasing specialties were melodrama and spectacle; he even boasted that he could reduce any audience to tears.  His career started early.  By 1450, when he was only in his mid-twenties, he was well-known enough to be chosen by Pope Nicholas V to deliver the official canonization eulogies for Bernardino of Siena.  Later in his career, when asked to preach a crusade sermon against the Ottoman Turks, he did so in full knight’s armor, complete with a sword.  It’s no wonder that large, enthusiastic crowds flocked to hear him wherever he went.

Eager to capitalize on the popularity of Caracciolo and his colleagues, printers issued voMarginalialumes of their sermons in Latin and vernacular Italian.  Caracciolo alone had at least eight different editions of his sermons printed throughout Italy from the 1470s until his death in 1495.  By the time the sixteenth century drew to a close, over one hundred editions of his works had been printed throughout Europe.

This volume contains Caracciolo’s sermons on Advent, St. Joseph, the Beatitudes, divine charity, and the immortal soul, as well as a sermon by the canon lawyer Dominicus Bollanus on the immaculate conception of the Virgin Mary.  It preserves the words Caracciolo’s audiences heard and read so that we can access them today.  Thanks to this copy’s scattered marginal notes in sixteenth-century handwriting, we can even know how they responded.

The Fifteenth-Century Tech Boom

Title pageAs Caracciolo’s career as a preacher reached its height, Italy stood on the brink of a technological revolution.  Gutenberg had developed movable type in Mainz around 1455, but it took about a decade for the technology to reach Italy.  Venice had to wait even longer – until 1469.  That’s the year that Johannes of Speyer emigrated from Mainz, got a five-year monopoly from the Doge, and set up shop as the city’s first printer.

Unfortunately for the Speyers, Johannes died around eighteen months later, invalidating the monopoly.  His brother Vindelinus attempted to carry on the business, but Johannes’ death touched off an equivalent of the dot-com boom of the late 1990s.   Within three years, there were at least a dozen printing shops in Venice, all producing the same Greek and Roman texts – over 80 different editions of them by the end of 1472.  By 1473, the book market was so glutted with classics that the bottom dropped out.

This was merely the first in a series of market collapses, but most of Venice’s new high-tech start-ups went out of business as a result.  The Speyer press survived – barely.  Vindelinus sold a large stake in the company to two new investors: Johannes de Colonia (also called Johannes of Köln or Cologne), and Johannes MaColonia and Manthen's colophonnthen de Gerresheim.   Colonia and Manthen became the senior partners in the business; Vindelinus’ name disappeared from the company until 1476.

Colonia and Manthen were prolific printers, producing 86 editions from 1474 to 1480.  They gave up on the Greek and Roman classics after 1475 and shifted their focus to the more profitable market in law, theology, and philosophy.   This book is an example of the output from their reinvented company, produced during their first year of business.

Although the Speyer brothers are sometimes credited as the originators of Roman type, this book was printed using their space-saving but Backwards Nelegant Gothic.  Like many other early printed books, the printers left space for initials and ornament to be added by hand.  In this copy, several of the initial Ns are written backwards, for what reason we do not know.

There’s much more this book could tell us; a book is never just a book when it’s in Special Collections.  As its own history shows, this particular book has been an active participant in a tradition of study that has continued for hundreds of years.

Want to Read More?

The following resources are available at MU Libraries.

 

BindingAguzzi-Barbagli, Danilo.  “Roberto Caracciolo of Lecce,c. 1425-6 May 1495.” In Contemporaries of Erasmus: a biographical register of the Renaissance and Reformation. Ed. Peter G. Bietenholz, Thomas B. Deutscher, associate editor. Toronto: University of Toronto Press, c1985.

Gerulaitis, Leonardas Vytautas.  Printing and Publishing in Fifteenth-Century Venice.  Chicago: American Library Association, 1976.

Telle, Emile V.  “En marge de l’éloquence sacreé aux XVe-XVIe siècles: Erasme et Fra Roberto Caracciolo.”  Bibliothèque d’humanisme et Renaissance.  Travaux et Documents 43 (1981): 449-470.


[1] The word incunabulum (plural incunabula, or incunable(s), if you prefer English) means in the cradle in Latin.  It is generally applied to printed books produced prior to 1501, in the earliest years of printing.

 

New Digital Exhibit

Controlling Heredity: The American Eugenics Crusade, 1870-1940 has recently been mounted as a permanent exhibit on the website of the Special Collections and Rare Books department.  This virtual exhibit explores the intersections between ethics and the pseudo-science of eugenics in the late nineteenth and early twentieth centuries. It was originally mounted as part of Ethics and the Brain, the seventh annual symposium sponsored by the Life Sciences and Society Program at the University of Missouri in March 2011.

home Resources and Services, Special Collections and Archives April Fools! The Praise of Folly by Desiderius Erasmus.

April Fools! The Praise of Folly by Desiderius Erasmus.

This April Fool’s Day we thought we’d share several editions of Moriae Encomium by Desiderius Erasmus, which, in addition to being a definitive resource on fools and foolishness, has a great Latin pun for a title.

Holbein frontispieceFrontispiece portrait of Erasmus, engraving after Hans Holbein (London, 1709).

Erasmus, More, and Holbein portrait frontispieceFrontispiece and engraved title page featuring Erasmus, More, Holbein, and Folly as a goddess (Leiden, 1715).

Holbein illustrationsThe folly of scholarship, engravings after Hans Holbein (Paris, 1715).

Eisen frontispieceFrontispiece illustration of Folly as a goddess, illustration after Charles Eisen (Paris, 1757).

Eisen illustrationThe folly of drunkenness, engraving after Charles Eisen (Paris, 1757).

Chodowiecki illustrationsVarious types of folly, engravings after Daniel Chodowiecki (Berlin, 1781).

Ward illustrationThe folly of pedagogues, mezzotint by Lynd Ward (New York, 1953).

Desiderius Erasmus (1466-1536) isn’t the figure one would suppose to be an authority on foolishness.  Ordained as a priest and consecrated as a monk, Erasmus spent his life as a classical scholar, humanist, and theologian.  Although he is best known for theological work, he was also a prolific and engaging author whose works ranged from popular handbooks on children’s table manners to bitter mockeries of Church and state officials.

The Praise of…  More?

Around 1498, Erasmus moved to England, where he met Sir Thomas More, the author of Utopia.  The two men worked together on a translation of the works of Lucian and became close friends. Erasmus moved to Italy to pursue a doctorate in divinity in 1500, but he and More continued to write to each other regularly.

In 1509, Erasmus returned to England and wrote Moriae Encomium during his journey, dedicating it to More.  The title of the work makes an affectionate joke of More’s last name – Moriae Encomium can be translated as either The Praise of Folly or The Praise of More.  Erasmus continued the wordplay throughout the text, parodying the elaborate literary style both he and More would have encountered in their classical studies.

Erasmus considered Moriae Encomium a minor work and was surprised and dismayed at its popularity upon its first publication in 1511.  The work went through multiple editions and translations in his lifetime, and it touched off an entirely new literary genre – the spoof encomium, which became popular among learned Elizabethans.

Picturing Folly

Moriae Encomium also gave rise to an artistic tradition.  The artist Hans Holbein, a mutual friend of Erasmus and More, decorated Erasmus’ own copy of the book with marginal drawings.  Holbein’s humorous doodles were adapted as engravings in a later edition, and they were copied for the next two hundred years.  They have served as an inspiration – or a point of departure – for the generations of artists who have illustrated this text.

The Division of Special Collections, Archives, and Rare Books has editions of Moriae Encomium ranging from the seventeenth through the twentieth centuries, and many are illustrated.  In addition to Holbein, illustrators include Charles Eisen, Daniel Chodowiecki, and Lynd Ward.  The images above are just a sampling from our collection.  Enjoy!

Sources

  1. L’Eloge de la Folie composé en forme de declamation… , illustrated with engravings after the designs of Hans Holbein (Leiden, P. vander Aa, 1715).  RARE PA8514 .F8 1715
  2. L’Eloge de la Folie, illustrated by Charles Eisen (Paris, n.p., 1757).  RARE PA8514 .F8 1757
  3. Moriae Encomium: or, A Panegyrick Upon Folly, illustrated with engravings after the designs of Hans Holbein (London, Printed, and sold by J. Woodward, in Threadneedle street, 1709).  RARE PA8514.E5 1709
  4. L’Eloge de la Folie, illustrated by Charles Eisen (Paris, n.p., 1757).  RARE PA8514 .F8 1757
  5. Moriae Encomium: or, The Praise of Folly, illustrated by Lynd Ward (New York: Limited Editions Club, 1943).  RARE PA8514 .E5 1943
  6. L’Eloge de la Folie composé en forme de declamation… , illustrated with engravings after the designs of Hans Holbein (Leiden, P. vander Aa, 1715).  RARE PA8514 .F8 1715
  7. Das Lob der Narrheit aus dem Lateinischen, illustrated by Daniel Chodowiecki (Berlin: G.J. Decker, 1781).  RARE PA8514 .G3 1781
home Resources and Services, Special Collections and Archives Tennessee Williams’ first two plays

Tennessee Williams’ first two plays

Before Cat on a Hot Tin Roof, A Streetcar Named Desire, and The Glass Menagerie, there were Beauty is the Word and Hot Milk at Three in the Morning.  And before he went by Tennessee, playwright Thomas Lanier Williams was an MU student.  This weekend kicks off campus-wide celebrations of Williams’ 100th birthday, and to join in the festivities, we’re featuring two manuscripts of his earliest plays.

Beauty is the Word
Tennessee Williams' stage diagram for Beauty is the Word

 

Beauty is the Word was Williams’ very first play.  It was submitted for the MU Dramatic Arts Club’s Dramatic Prize Plays contest in 1930.  The play was produced on stage as part of the competition, but it appears not to have won an award in the contest.  Over the course of one act, two young and worldly aesthetes visit their austere and forbidding missionary relatives somewhere in the South Pacific.  When the natives revolt and threaten to burn down the mission, the young couple saves the day by appealing to the natives with dance and music rather than fear of damnation.

Hot Milk at Three in the Morning
Title page for Hot Milk at Three in the Morning, featuring the signature of Thomas Lanier Williams

 

Hot Milk at Three in the Morning was Williams’ sophomore submission to the Dramatic Prize Plays contest.  The play focuses on an argument between a young married couple who are trapped by poverty and illness.  It was staged in 1932, and like Beauty is the Word, it received an honorable mention.  Williams revised the play in 1940, titling it Moony’s Kid Don’t Cry.  It was included in a compilation of the best plays of 1940 and was the first of Williams’ plays to be published.

The manuscripts
The manuscripts were bound into volumes with other submissions for each year.

 

Both manuscripts are a part of the University of Missouri Collection, which features official publications along with the works of faculty, staff, and distinguished alumni.