home Resources and Services EndNote Tip: Downloading Styles

EndNote Tip: Downloading Styles

The output style you need not in your EndNote program? You can download 1000’s of styles from the EndNote web site.

Go to http://endnote.com/support/enstyles.asp and search for your journal (using the full title works best). Once you find the journal, open the .ens file by double-clicking on it. You do not need to save the file–you can open it with EndNote.

It’ll look like:

The trick is to save the file to correct folder on your computer so that the style shows up in your “Select Another Style…” menu. To save it to the appropriate place, go the the File menu and choose Save As…

The name will default to Journal Title Copy.

Delete “Copy” (that is, just save it as the journal title) and click Save.

You should be good to go — the output style will now show up in your “Select Another Style…” menu.

Questions? Ask Kate.

home Resources and Services Civil War in Missouri Exhibit on Display in Ellis Library

Civil War in Missouri Exhibit on Display in Ellis Library

Come out and see an exhibit on the Civil War in Missouri! A short history of the war is provided alongside relevant books, manuscripts, photographs, and artifacts. Attention is also given to Missouri Civil War Historic Sites. Materials on display have come from the University’s holdings, the State Historical Society of Missouri, The Library of Congress’s American Memories Project and private collections. The exhibit has been curated by Amy C. Nickless, Graduate Reference Assistant at Ellis Library and Historian.

The exhibit is free, located on the main floor’s Colonnade, and available during Ellis Library’s operating hours. It will be open through July 27, 2011.

 

home Resources and Services, Special Collections and Archives Jenson in Venice, or Contra Gentiles beati Thome de Aquino

Jenson in Venice, or Contra Gentiles beati Thome de Aquino

This post highlights Summa Contra Gentiles by St. Thomas Aquinas published in Venice in 1480 by Nicolas Jenson, one of the most renowned printers.  The book is of special importance to all with an interest in theology, history of book printing, and rare books.  This is one of the four incunabula recently acquired by the Special Collections and Rare Book department.

Shows fifteenth century leather tooled binding with copper clasps

On the warm and humid Venetian day of June 13th, 1480 the book was finally finished. Nicolas Jenson had only two months to live: he wasn’t well and felt old, tired and lonely. His children were in France: daughters Joanna, Catherine, and Barbara were young and unmarried, still living in Sommevoir with his beloved brother Alberto and his mother donna Zaneta; his son Nicolas, whose behavior worried him a lot, was in Lyon. A “most honorable tradesman, alien and printer of books”, Messer (as stated in his official will and testament), Nicolas Jenson, a very rich man, felt with some sadness that this strange place was going to be his final destination. A Frenchman, he had come here twelve years prior, when Venice was already in a long and exhausting war with the Turks, and when two years earlier the Doge Giovanni Mocenigo had made peace with Mehmed II, the famine and plague were still ravaging La Serenissima (the name of the Republic of Venice). Messer Jenson was a very successful printer; even his rivals admitted that the elegance of his Venetian Gothic type was unmatched — after all, he published a good quarter of all the books printed in Venice from his arrival in 1468 to 1480* , and Pope Sixtus IV made him Count Palatine.

Contra Gentiles was his second book published this year. By the end of July the last part of De humilitate interiori et patientia vera by Johannes Carthusiensis was to become his last printing venture. After his death his printing partner John of Cologne published a few more titles from the stock left after Jenson’s repose, under the joint name of Johannis de Colonia, Nicolai Jenson, and Sociorumque.

Nicolas Jenson was a master, not a scholar like Aldus, Merula, or Caracciolo, and thus he was in need of assistance by monks in proofreading the works of philosophy and especially theology. Petrus Albus Cantianus, a Dominican friar, was the editor of Contra Gentiles: at the very end of the text, after the colophon, we find his letter to Petrus Frigerius, Archbishop of Corfu (“Veneto theologico Excellentissimo Archiepiscopo Corkire[n]si ordinis”) confirming that he checked and corrected the text.

Why did Jenson decide to publish Contra Gentiles in 1480, when the market was still saturated with the books by Aquinas? Only four years earlier Contra Gentiles was brought out in Venice by Francis Renner of Heilbronn and Nicolas of Frankfurt, and before that, in September of 1475, in Rome, by Arnold Pannartz, and before him in 1473-74 Georg Reyser printed it in Strasburg. And this is not counting numerous editions of his most widely known and enormously influential Summa Theologiae.

St. Thomas Aquinas‘s authority in the Roman Church was indisputable: his works were the basis of Thomist theology and philosophy. It is widely believed that Aquinas wrote Contra Gentiles in Italy between 1261 and 1264 at the request of St. Raymond of Penafort, Magister General of the Dominican order, who wanted to have a good and convincing resource for the missionaries in Tunisia and Murcia, a Moorish kingdom in southern Spain.  While written most probably in Rome, it is supposed to be based on his lectures he read at the University of Paris between 1257 and 1259.  Aquinas’ intention was to give his students clear and focused answers to the most important questions about God, creation, providence and salvation. Each of the four books that constitute this work consists of about a hundred chapters (102, 101, 164, 97, to be precise). Each chapter is a question/postulate (Quod veritati fidei Christianae non contrariatur veritas rationis <That the truth of reason is not in opposition of the Christian faith>) which is then proved in a series of arguments and counter arguments, supported by citations from the Scriptures, and led to a logical conclusion.

medieval handwritten title on a blank page Thomas contra gentilesOur book looks characteristically mediaeval: in contemporary brown tooled leather binding over wooden boards with the front half of embossed metal clasps still present. The title is written in a contemporary hand on the fore-edge and at the top of the blank recto of the first printed page: Tho[mae] [contra] gentiles. The watermarks {a crown without arch between two chain-lines} suggest that Jenson bought the paper from Genf (Genève), and the binder of the book had a paper stock {watermark: Virgin Mary in a shield} produced in Dorpat (modern Tallinn) or Riga in Livonia in the 15th century.

The beginning of "inserted" chapter 21

Jenson’s division of chapters differs from some of the known printed editions. He thought, for instance, that chapter 20 (Quod Deus non est corpus) was too long and he divided it after the 11th argument thus making an additional chapter 21, “Obiectiones co[n]tra hu[n]c processum”. (Objections against this reasoning). On the other hand, his Book Three consists only of 163 chapters instead of 164 in several other editions. The very first line of Chapter 20 also differs from the majority of modern texts and coincides with the Roman edition of 1894 that reads: “Ex praedictis a[u]t[em] oste[n]ditur,[ quod] Deus non e[st] corp[us]”; in later editions it reads: “Ex praemissis etiam” etc. St. Thomas’ hand was notoriously difficult to read, and it is not my task here to determine what manuscript was used by Jenson for his publication, but it is interesting to observe that even after seven hundred years of studying the text even at the beginning of the twentieth century, some passages were still being disputed, and monks who spent their entire lives reading, editing and publishing it, complained about difficulties in decoding it.

Picture of the beginning of the book with large initialThe text is rubricated with red and blue capitals.  A large and very elaborate first capital “v” in “Veritatem” opens the book, and each objection and counter argument is marked with red paragraph mark up to Book Four, chapter 11; after that, hand written capital letters at the beginning of chapters continue, but paragraph marks are much rarer and frequently coincide with short contemporary notes in the text, as if a reader was rubricating while reading.

More than just another remarkable example of an incunabulum printed by one of the greatest printers of Venice, our book carries a fitting St. Thomas’ message not only to Jenson and his contemporaries, but to the posterity — and thus to us — as well, namely that “of all human pursuits, the pursuit of wisdom is the more perfect, the more sublime, the more useful, and the more joyful.” (Book 1, Ch. 2)

*There were 596 books brought out in Venice in that period, of which number 150 were published by Jenson.

Bibliography:

  • Thomas Aquinas, Saint, 1225?-1274. Incipit tabula cap[itu]lo[rum] libri [contra] ge[n]tiles b[ea]ti Thome de Aquino. [Venice : Nicolas Jenson, 1480]   BX1749 .T38 1480
  • Thomas Aquinas, Saint, 1225?-1274. Summa contra gentiles : libri quatuor Thomae Aquinatis, ad lectionem codicis autographi in Bibliotheca Vaticana adservati, probatissimorum codicum meliorisque notae editionum, fideliter impressi ; volumen unicum. Romae : Ex typographia Forzanii et Socii, 1894. BX1749.T38 1894
  • Corpus Thomisticum Sancti Thomae de Aquino. http:/www.corpusthomisticum.org
  • Jenson, Nicolas, ca. 1420-1480. The last will and testament of the late Nicolas Jenson, printer, who departed this life at the city of Venice in the month of September, A.D. 1480. [Chicago, Ludlow Typograph Co., 1928] Z232.J54 L3 1928

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.

Leave a comment

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 Controlling Heredity: The American Eugenics Crusade, 1870-1940

Controlling Heredity: The American Eugenics Crusade, 1870-1940

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 Congratulations to the Class of 2012!

Congratulations to the Class of 2012!

After you graduate, the MU Libraries will still be here to serve you. To find out more about the resources available to alumni, visit Library Resources for Alumni.

All of us at the MU Libraries, wish you the very best in your future endeavors!

home Resources and Services Choose Privacy Week, May 1-7

Choose Privacy Week, May 1-7

Choose Privacy Week will take place May 1-7, 2011 and is an ongoing program of the American Library Association.

Choose Privacy Week is an initiative that invites library users into a national conversation about privacy rights in a digital age. The campaign gives libraries the tools they need to educate and engage users, and gives citizens the resources to think critically and make more informed choices about their privacy.

You can find out more information at http://www.privacyrevolution.org/index.php/privacy_week/.

At Ellis Library, we will have several posters and an exhibit on display to educate our users about privacy.

 

home Resources and Services Rescuing digital content: Notes from the Newspaper Archive Summit

Rescuing digital content: Notes from the Newspaper Archive Summit


On April 10-12 scholars, journalists, newspaper publishers, librarians, digital archivists and digital newspaper vendors gathered at RJI for for “The Newspaper Archive Summit: Rescuing orphaned and digital content.”

Read more at the Reynolds Journalism Institute blog: Rescuing digital content: Notes from the Newspaper Archive Summit