Book of the Week — [اختصار مختصر المقاصد الحسنة]

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MS-OR.12.48
‘kabīkaj, kabīkaj, kabīkaj, yā kabīkaj iḥfaẓ al-waraq’

اختصار مختصر المقاصد الحسنة
زرقاني، محمد بن عبد الباقي
1168 [1754]
Ms Or. 12.48

An abridgement of Muḥammad ibn ʻAbd al-Bāqīal-Zurqānī’s Mukhtaṣar, itself an abridgement of al-Sakhāwī’s al-Maqāṣid al-ḥasanah, a collection of ḥadīth; the present work is anonymous, but al-Jabartī (in ʻAjāʼib al-āthār, ed. Ḥasan Muḥammad Jawhar et al., [al-Qāhirah]: Lajnat al-Bayān al-ʻArabī, 1958-9; v. 1, p. 176) informs us that al-Zurqānī summarized his own abridgement “fī naḥw kurrāsayn bi-ishārat wālidihi”; the present work would seem to fit that description; an extract is also listed by Brockelmann (GAL II:35).

Naskhī in a trembling hand; rubrications; 25 lines/p; corrections and notes on the margins; title and invocation against bookworms (‘kabīkaj, kabīkaj, kabīkaj, yā kabīkaj iḥfaẓ al-waraq’) on fol. 1a; one folio missing after fol. 7; laid paper; watermark: three thick crescents; unbound.

From the collection of Aziz Atiya (1898-1988.)

MS-OR.12.48-colophon

~~Thanks to Mark Muehlhausler for the catalog record and for bringing the curse against bookworms to my attention. LP

Seven Pillars of Wisdom — The Book that inspired the movie that inspired the art

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photographs by Scott Beadles. Artist’s statement: “I recall a movie from memory, something I had seen in my childhood, the memory indefinite. My grandfather sat next to me and pointed out the boundaries of the revolt on the map above the sofa, it was always the centerpiece of his discourse. I remember a vacant climate, a vast expanse that even at such a young age was perceptibly inhospitable. The images of the desert have stuck with me, though muddled by time, the purity of the landscape perpetual. In the reconstruction of a past memory, I photographed what I remember through the distance of time. The intent was of the images, to encapsulate a feeling. Shapshots of the Arabian desert, barbarous and beautiful.”

“Some of the evil of my tale may have been inherent in our circumstances.”
— T. E. Lawrence

Seven Pillars of Wisdom
T. E. Lawrence (1888-1935)
Garden City, NY: Doubleday, Doran & Company, Inc., 1935
D568.4 L4 1935

History of the printing of Seven Pillars:

“Text I — ‘…I lost it.’

Text II — ‘…All but one page of this text was burned by me in 1922.’

D568.4-L4-1935-Camel

Privately Printed Texts
Oxford 1922
‘…eight copies were required. Five copies (bound in book form, for the convenience of those former members of the Hejaz Expeditionary Force who undertook to read it critically for me) have not yet (April 1927) been destroyed.’

Subscribers’ Text I. xii. 26
‘…Beginners in literature are inclined to fumble with a handful of adjectives round the outline of what they want to describe: but by 1924 I had learnt my first lesson in writing, and was often able to combine two or three of my 1921 phrases into one…The Seven Pillars was so printed and assembled that nobody but myself knew how many copies were produced. I propose to keep this knowledge to myself.’

D568.4-L4-1935-Damascus

Published Texts
New York Text
‘Ten copies are offered for sale, at a price high enough to prevent their ever being sold. No further issue of the Seven Pillars will be made in my lifetime.'”

–T. E. Lawrence

D568.4-L4-1935-Jidda

“To bring the information up to date, I add that the remaining copies of the Oxford printed Text of 1922 are still in existence, but will not be made public for at least ten years, and then only in a limited edition…The text of the present edition is identical with that of the thirty-guinea edition of 1926, except for the following omissions…necessary to save hurting the feelings of persons still living…” — A. W. Lawrence

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The movie that inspired the art.
Lawrence of Arabia
Burbank, CA: Columbia Tristar Home Video, 1002
PN1997 L38 2002 ARC

Originally produced as a motion picture in 1962. Directed by David Lean. Starring Alec Guinness, Anthony Quin, Jack Hawkins, Jose Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Omar Sharif, Peter O’Toole. Music composed by Maurice Jarre. Lawrence of Arabia won the Academy Award for Best Picture, 1962.

And one more for good measure:

Z116-A3-R54-1985-Portrait
“He sat, fireless, in very cold weather, wearing a leather, wool-lined flying suit, with the fattest fountain pen I have ever seen — where he got it I don’t know — and wrote in a splendid great Kalamazoo notebook, leather bound and secured with a patent lock that delighted him.”

T. E. Lawrence, Book Designer: His Friendship with Vyvyan Richards
Vyvyan Richards
Wakefield, West Yorkshire: Fleece Press, 1985/86
Z1116 A3 R54 1985

Reprinted from T. E. Lawrence and His Friends edited by A. W. Lawrence, 1937. From the colophon: “…printed in an edition of 250 copies, on Velin Arches Blanc by Simon Lawrence, who also set the 14pt Caslon, at his Fleece Press…200 copies are bound in quarter cloth and Sage Reynolds paste paper over boards, & 50 are bound in quarter sheepskin parchment and paste paper, signed by Peter Reddick, who engraved the frontispiece portrait of T. E. Lawrence. The book was bound in Otley by Smith Settle…”

Z116-A3-R54-1985-Cover

Book of the Week — Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica

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QC751-K58-1654-title
““The highest mountain, the oldest books, the strangest people, there you will find the stone.” — Attributed to Athanasius Kircher

Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica
Athanasius Kircher (1602-1680)
Romae: sumptibus Blasii Deuersin, & Zanobii Masotti Bibliopolarum typis Vitalis Mascarditypis V. Mascardi, MDCLIV (1654)
Third and final edition
QC751 K58 1654

Athanasius Kircher learned Greek and Hebrew at the Jesuit school in Fulda. He continued his scientific studies at Paderborn, Cologne, and Koblenz, taking orders in 1628 as a Jesuit priest. He traveled to Paris, fleeing fighting in Germany, and settled in Rome in 1634. His rigorous scientific curiosity was girded by a mystical conception of natural laws and forces. His methodology ranged from scholastic to hands-on experimentation. He once had himself lowered into the crater of Vesuvius to observe its features soon after an eruption. He was a prolific writer, publishing forty-four books. More than 2,000 of his manuscripts and letters survive. He assembled one of the first natural history collections, housed in a museum after his name in Rome, and later dispersed throughout various institutions.

The third edition of Magnes sive de arte magnetica is the first to appear in folio format. It is virtually a new work, rewritten and expanded from the first edition (1641). This edition is Athanasius Kircher’s largest, most complete, and definitive treatise on magnetism and electromagnetism (a term coined by Kircher in this work), which he conceived as a universal force of nature. Kircher compiled measurements of magnetic declination from several places around the world as reported by Jesuit scholars. One of these, Martin Martini, suggested to Kircher the possibility of determining longitudes by the declination of a magnetic needle, a possibility which Kircher then introduced to the scientific community.

In this work Kircher included discussions about the magnetism of the earth and heavenly bodies, the tides, the attraction and repulsion in animals and plants, and the magnetic attraction of music and love. He addressed the practical applications of magnetism in medicine, hydraulics, the construction of scientific instruments, and toys. Above it all, God remained the central magnet of the universe.

QC751-K58-1654-Obelisk
Glass spheres contain wax figures incorporating magnets, which can be affected by the large magnet in the base of the obelisk. On the globes are letters and signs of the Zodiac to which the figures point. By manipulating the handle in front of the table skirt, the operator could rotate the central magnet and cause the figures to answer questions or spell out words. The Greek inscription on the ribbon at the top of the obelisk is the Hermetic axiom, “Nature rejoices in Nature.” — p. 275

Illustrated with thirty-two full-page engraved plates and more than one hundred and fifty ornamental woodcuts throughout the text. Title-page printed in red and black. Rare Books copy has odd little hand-inked drawings by a past owner throughout.

QC751-K58-1654-Portrait
The portrait of Ferdinando IV, reigning Hapsburg Emperor, to whom Magnes sive de arte magnetica is dedicated, contains magnetic needles in the shape of arrows, a lodestone, the eye of God, the orb and cross corresponding to the ancient symbol for Mars, and other, even more esoteric, symbols. This engraving embodies the doctrine of Roman Catholic monarchy as a divine institution, and the emperor and his empire as the microcosmic reflections of God and his universe. Ferdinando IV died the year this edition was published, at the age of 21. — Engraving by F. Valentini

QC751-K58-1654-Sunflower
Sundial in the form of a sunflower — p. 508

QC751-K58-1654-pg593
In southern Italy, most commonly in Apulia, dancing the Tarantella cured the tarantulla bite. — p. 593

Recommended reading:

Glassie, John. A Man of Misconceptions: The Life of an Eccentric in an Age of Change. New York: Riverhead Books, 2013
CT1098 K46 G53 2013, General Collection, L2

On Jon’s Desk: Vergilii Maronis Dreyzehen Bücher von dem tewren Helden Enea, Humanism, and Tying it all Together

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“A Brief Preface to the Reader. Please note (dear friendly reader) that Virgil’s books of the Aeneid were translated into German many years ago by an educated man and were published. Here they are again, newly printed, corrected in many places, the printing improved, and every book having its own beautiful illustration attached to it. You can see this for yourself while reading, more than I can quickly show or tell you. Herewith are Almighty God’s commands obeyed.”

– David Zöpffeln, Preface to Virgil’s Thirteen Books of the Hero Aeneas, 1559

Title: Vergilii Maronis Dreyzehen Bücher von dem tewren Helden Enea

Author: Publius Vergilius Maro (Virgil)

Translated (Latin to German): Thomas Murner (1475 – 1537)

Printed: Frankfurt am Main, Germany: Printed by David Zöpffeln, 1559

Call Number: PA6811 A5 M8

 

We have many important historical contributions to thank the humanists for. This delightful version of Virgil’s Aeneid in German is one of them. Printed in 1559 by David Zöpffeln in Frankfurt using Thomas Murner’s 1515 translation, this palm-size treasure is a combination of several exciting 16th century developments. Holding it in your hand is like having a piece of the Renaissance all to yourself. Sometimes I feel Humanism gets too much hype; that putting the humanist movement on a pedestal risks overlooking a thousand years of important history. Yet if there is one way to convince me how fantastic the humanists were it would be to hand me a copy of Vergilii Maronis Dreyzehen Bücher von dem tewren Helden Enea.

What makes this book special? First, it is Virgil’s Aeneid. Second, it is Thomas Murner’s German translation. Third, it represents a culmination of Renaissance philosophical thinking that occurred in Europe during the 16th century. Let’s break this down.

Who was Virgil? Publius Vergilius Maro (70 – 19 BCE) was an ancient Roman poet of the Augustan period and is traditionally ranked as one of Rome’s greatest poets. He wrote three of the most famous poems in Latin literature: the Eclogues (or Bucolics), the Georgics, and the epic Aeneid. The Aeneid has been considered the national epic of ancient Rome since the time of its composition and is considered Virgil’s finest work and one of the most important poems in the history of western literature. Virgil worked on the Aeneid during the last eleven years of his life, commissioned, according to Sextus Propertius (a Latin elegiac poet of the Augustan age), by Augustus (born Gaius Octavius, great nephew of Julius Caesar, founder of the Roman Principate and considered the first Roman emperor). Modeled after Homer’s Iliad and Odyssey, the Aeneid follows the Trojan refugee Aeneas as he struggles to fulfill his destiny and reach Italy –where his descendants Romulus and Remus were to found the city of Rome. Virgil’s work has had wide and deep influence in Western literature, most notably Dante’s Divine Comedy, in which Virgil appears as Dante’s guide through Hell and Purgatory.

Who was Thomas Murner? He was a German satirist, poet, and translator who lived from 1475 until 1536 or 1537 (accounts differ). He was educated, a member of the Franciscan Order, and a humanist. Never turning to secularism, Murner directed his satires against the corruption of the times and the Reformation (particularly Martin Luther). His most powerful and virulent satire was Von dem grossen Lutherischen Narren wie ihn Doctor Murner beschworen hat (On the Great Lutheran Fool, 1522). In 1523 Henry VIII invited Murner to England, where his writings caught the attention of the famous humanist Thomas More. John Headley (Professor Emeritus, The University of North Carolina at Chapel Hill, Ph.D. Yale University, 1960) postulates that it was Murner who first made More aware of Martin Luther’s radical ecclesiology (or theology as applied to the nature and structure of the Christian Church).

Okay, so what’s Humanism all about anyways? Humanism is an outlook or system of thought attaching prime importance to human rather than divine or supernatural matters. Humanist beliefs stress the potential value and goodness of human beings, emphasize common human needs, and seek solely rational ways of solving human problems. In the Renaissance perspective, it was a cultural movement that turned away from medieval scholasticism and revived interest in ancient Greek and Roman thought. Humanism is a philosophical and ethical stance that emphasizes the value and agency of human beings, individually and collectively, and generally prefers critical thinking and evidence (rationalism and empiricism) over acceptance of dogma or superstition.

What’s the big deal with Humanism and why is it so important? Humanism began as a revival of the study of ancient Greek and Roman texts, yet the humanists did not see themselves as being in conflict with Christianity. Some were secular leaders, but many were ordained priests. The humanists’ close study of Latin and Greek literary texts enabled them to discern important historical differences in the texts during various time periods. This was greatly aided by the influx and increased availability of many texts coming into Western Europe after the fall of the Byzantine Empire in 1453. Humanist scholars increasingly turned to the study of Neoplatonism and Hermeticism, hoping to bridge the differences between the Greek and Roman Churches, and even between Christianity itself and the non-Christian world. The refugees from Byzantium brought with them Greek manuscripts, not only of Plato and Aristotle, but also of the early copies of the Christian Gospels, previously unavailable in the Latin West.

When the new invention of printing made these texts widely available, the Dutch humanist Erasmus (who had studied Greek at the Venetian printing house of Aldus Manutius) began a philological analysis of the Gospels in the spirit of Lorenzo Valla (1407-1457), Italian humanist, rhetorician, educator, and Catholic priest, comparing the Greek originals to their Latin translations with a view to correcting errors and discrepancies in the latter. Erasmus, along with the French humanist Jacques Lefevre d’Etaples (c. 1455–1536), began issuing new translations of important historical texts. Italian and French humanism concentrated on scholarship and philology.

That is why this 1559 edition of Vergilii Maronis Dreyzehen Bücher von dem tewren Helden Enea is so fantastic – its connection to something bigger than itself. That is what makes all of us humans so special, as the humanists realized centuries ago. We are all individually and collectively amazing, like books, because of our ability to connect to and become part of something bigger than just ourselves – yet without fearing the loss of our personalities. This palm-size copy of Virgil’s Aeneid in German has some great personality, but it is also part of something big and wonderful.

~Contributed by Jon Bingham, Rare Books Curator

Memorial Day 2017

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“Let no wanton foot tread rudely on such hallowed grounds. Let pleasant paths invite the coming and going of reverent visitors and fond mourners…If other eyes grow dull and other hands slack, and other hearts cold in the solemn trust, ours shall keep it well as long as the light and warmth of life remains in us.” — from “Memorial Day Order,” May 5, 1868, John A. Logan,
Commander in Chief, Grand Army of the Republic

Memorial Sunday and Decoration Day
Salt Lake: Century Printing, 1912
E642 M45 1912

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E642-M45-1912-spread

 

Book of the Week — A Treatise on Electricity and Magnetism

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“The fact that certain bodies, after being rubbed, appear to attract other bodies, was known to the ancients. In modern times, a great variety of other phenomena have been observed, and have been found to be related to these phenomena of attraction.” — James Clerk Maxwell

A Treatise on Electricity and Magnetism
James Clerk Maxwell (1831-1879)
Oxford: Clarendon Press, 1873
First edition, first issue
QC518 M46

James Clerk Maxwell was born in Edinburgh. At age 25 he became Professor of Physics at Aberdeen University’s Marischal College, where he began to study the composition of Saturn’s rings. In 1859, he published “On the Stability of Saturn’s Rings.” A century later, the Voyager space probes confirmed many of Clerk Maxwell’s conclusions.

QC518-M46-vol1-fig3

In 1860, Clerk Maxwell moved to King’s College London. In 1871 he returned to Cambridge where he helped establish and design Cavendish Laboratory and became the first Cavendish Professor of Physics. In 1873 he developed his four equations which played a key role in Albert Einstein’s work on his theory of relativity. “The special theory of relativity owes its origins to Maxwell Equations of the electromagnetic field,” wrote Einstein, who later equated Faraday with Galileo and Maxwell with Isaac Newton.

Clerk Maxwell’s work forms the basis of much of modern technology, including radio, television, satellite communications and cell phones. Twentieth century physicist Richard Feynman wrote, “From a long view of the history of mankind — seen from, say, ten thousand years from now — there can be little doubt that the most significant event of the 19th century will be judged as Maxwell’s discovery of the laws of electrodynamics.”

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The James Clerk Maxwell Telescope (JCMT), built in 1987, is in Mauna Kea Observatory in Hawaii.

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Treatise is Clerk Maxwell’s most detailed and comprehensive work, advancing ideas that would become essential for modern physics.

Treatise “extended Maxwell’s ideas beyond the scope of his earlier work in many directions, [demonstrating] the special importance of electricity to physics as a whole. He began the investigation of moving frames of reference, which in Einstein’s hands were to revolutionize physics; gave proofs of the existence of electromagnetic waves that paved the way for Hertz’s discovery of radio waves; worked out connections between the electrical and optical qualities of bodies that would lead to modern solid-state physics; and applied Tait’s quaternion formulae to the field equations, out of which Heaviside and Gibbs would develop vector analysis” (Norman).“Maxwell most clearly prefigures 20th-century physics” (Simmons).

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Copies of the first issue have been found both with and without a publisher’s catalog bound in Volume II (the text of which contains an issue point). Rare Books copy bound with catalog in volume 2 and errata in volume 1.

QC518-M46-vol2-fig20

My thanks to Dean Henry S. White for bringing this classic to my attention. ~ LP

Book of the Week — Land Forms and Air Currents

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N7433.4-B37-L35-2014-CurlySpread
“The coastline dances along the main highway, sometimes following the road’s straight-line lead, then moving in and away in a jitterbug step, twice dipping under a stretch of bridge —
a tango flourish”

N7433.4-B37-L35-2014-Map
“On a map the shore’s edge is a fixed line. But in reality she’s a ballerina, gliding, then rising on her toes with the tide.”

May all your summer road trips be just as lively.

Land Forms and Air Currents
Carol June Barton
Glen Echo, MD: Popular Kinetics Press, 2014
N7433.4 B37 L35 2014

Colorful layered pop-up landscapes accompanied by poems. When opened completely, the book stretches to a length of 150 inches. Edition of twenty copies. Rare Books copy is no. five, signed by the author.

On Jon’s Desk: Erasmus and Holbein, a 17th Century Printer’s Ill-executed Gift to Us

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Morias Enomion 1676 Frontis Piece

 

 

 

 

 

 

 

Image of Page containing quoted text.

 

Encomium igitur audietis non Herculis, neque Solonis, sed meum ipsius, hoc est, Stultitiae. Iam vero non huius facio sapientes istos, qui stultissimum & insolentissimum esse praedicant, si quis ipse laudibus se ferat. Sit sane quàm volent stultum, modo decorum esse fateantur. Quid enim magis quadrat, quàm ut ipsa Moria suarum laudum sit buccinatrix, & aute heauten aule? Quis enim me melius exprimat quam ipsa me? Nisi si cui forte notior sim, quam egomet sum mihi.

 

“Prepare therefore to be entertained with a panegyric, yet not upon Hercules, Solon, or any other grandee, but on myself, that is, upon Folly. And here I value not their censure that pretend it is foppish and affected for any person to praise himself. Yet let it be as silly as they please, if they will but allow it needful. And indeed what is more befitting than that Folly should be the trumpet of her own praise, and dance after her own pipe? For who can set me forth better than myself? Or who can pretend to be so well acquainted with my condition?”

– Erasmus, In Praise of Folly

Morias Enkomion 1676 Title Page

 

 

 

 

 

 

 

 

Title: Morias Enkomion. Stultitiae laus. Des. Erasmi Rot. Declamatio, Cum commentariis Ger. Listrii & figuris Jo. Holbenii.

Author: Desiderius Erasmus (ca. 1466-1536)

Printed: Basileae (Basel, Switzerland): Typis Genathianis, 1676

Call Number: PA8512 1676

Engraved portrait of Erasmus from 1676 Morias Enkomion.

Catholic priest and Renaissance humanist, Desiderius Erasmus was critical of the Roman Catholic Church but did not join the protestant movement, preferring to reform the church from within. He spent time at the publishing house of Aldus Manutius in Venice, acting as scholarly editor for the Aldine press’s famous publications of the classics. When he moved to Basel, Switzerland to avoid academic hostility in France, he developed a long-lasting friendship with Johann Froben, one of the great scholar-printers of the humanist movement.

 

Title page of 1532 Froben edition.Erasmus’ writings were best-sellers in their day. They accounted for an estimated 20 percent of all book sales in the 1530s. His best known work is Moriae encomium (In Praise of Folly), a critique of European society and the Roman Catholic Church. Erasmus’ Moriae encomium was first printed by Gilles de Gourmant in Paris, ca. 1511. Erasmus was unhappy with this badly edited version and soon another, dated, edition appeared, again in Paris. Erasmus continued to develop his “Moria,” adding to the text in subsequent printings. The second Froben edition (Basel, 1516) presented the “Moria” in its most complete state to date and formed the basis for all subsequent editions. The 1532 edition, printed by Jerome Froben (son of Johann) and Nicolaus Episcopius, contains the last revisions made by Erasmus, designed, he said, “to polish the style.” He added a number of notes to the commentary, “most of which are concerned with Folly as a dramatis persona or with defending the theological precision and orthodoxy of the work.” The J. Willard Marriott Library Special Collections holds a copy of this edition in the Rare Books Department.

In 1515 two young journeymen painters, Hans and Ambrosias Holbein, moved from Augsburg to Basel, where they were apprenticed to the painter Hans Herbster. The brothers worked as wood- and metalcut designers for printers. Soon after the Holbein brothers began work in Basel, the preacher and theologian Oswald Myconius invited them to add pen drawings to the margins of his second edition copy of Erasmus’ Moriae encomium. These manuscript illustrations became known for their wit and humanism. Hans Holbein went on to become a famous portraitist.

Engraved portrait of Hans Hoblein from 1676 Morias Enkomion. Holbein painted portraits of Erasmus (starting in 1523) and it was these which first brought him international acclaim. In 1526 Holbein decided to travel to England. Erasmus recommended him to his friend Thomas More. This launched Holbein’s career in King Henry VIII’s court. Holbein painted a portrait of Thomas More and became involved in humanist circles in England. After the downfall of Thomas More and Anne Boleyn, both of whom had employed him (and later lost their heads), Holbein distanced himself from the humanist circles that had allowed him his initial success in England. He began working under the patronage of Thomas Cromwell and became “the King’s Painter,” producing several portraits of the King and others in Henry’s inner circle. Scholars today recognize his work for its masterful blending of symbolism, allusion, and paradox.

In 1676 the printer Johann Rudolf Genath (Typis Genathianis) published the edition featured here of Erasmus’ Moriae encomium, which for the first time included Holbein’s illustrations. The illustrations in this edition are of particular interest. It is noteworthy that Holbein’s manuscript illustrations in the 1532 edition were kept and then brought forward for use in this edition. An artist named Caspar Merian produced the engravings. In addition to the eighty-one illustrations this edition contains engraved full page portraits of Erasmus, Holbein, and Holbein’s father, who was also a renowned painter. This edition also contains Lister’s Commentaries, a biography of Holbein, and a catalog listing of the artist’s works.

Engraved portrait of Holbein's father from 1676 Morias Enkomion.The printing of the engraved illustrations presents an intriguing periphery to the story of Holbein’s illustrations joining with Erasmus’ Moriae encomium. By 1676 the printing process had progressed considerably (two centuries had passed since the advent of printing in Europe) and mistakes made in combining text and illustrations at this point can only be chalked up as poor printing. In this edition of Moriae encomium we see a wonderfully terrible job of incorporating the two that we cannot help but find fascinating. It appears that the typesetter and the engraver suffered from a lack of communication. In some instances not enough space was left in the printing of the text to fit the illustration. The printer, using his creative problem solving skills, rectified the situation by turning the ill-fitting illustrations on their sides. Some are poorly inked. Then there is the mix up of the illustrations on pages 133 and 137. In the Rare Books copy the correct image has been laid in over the incorrect illustration. This tactic is fairly common in books from the early printing period.

Morias Enkomion - Illustration Turned SidewaysMorias Enkomion - Illustration Turned Sideways - 2

 

 

 

 

 

 

Morias Enkomion - page 133Morias Enkomion - page 137

 

 

 

 

 

 

 

 

 

This 1676 edition of Erasmus’ famous work is a mash-up of intriguing elements that culminate into something special. The combination of famous authorship with illustrations from a highly regarded artist, who in many ways gained fame as a result of his interactions with the text at an early stage in his career, produces a historically noteworthy piece. There is an irony in the presentation of Holbein’s illustrations in this edition because they are from a master, but administered with a complete lack of printing mastery. Nevertheless, we should be very glad that Genath gave them to us despite his execution.

Morias Enkomion - page 149 - woman at loomFold Out Illustration from Morias Enkomion 1676.

 

 

 

 

 

 

 

 

~Contributed by Jon Bingham, Rare Books Curator

Book of the Week — Remember the Light

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Yellow
“Thus shall ye think of this fleeting world:
A star at dawn, a bubble in a stream,
A flash of lightning in a summer’s cloud,
A flickering lamp, a phantom, and a dream.”
— Buddha Shakyamuni

REMEMBER THE LIGHT
Mary Risala Laird
Quelquefois Press, 2007

Artist’s statement in an email to the curator: “My best friend was diagnosed with non smokers lung cancer in 2005 and given 3 months to live. I asked myself what I would want to do if given the same. I had always wanted to make an artist book. So I spent two years letting an edition of 7 Remember the Lights come to fruition. I chopped up some etchings I made called Earthquake, the one of 1989 when I moved to California from Wisconsin.

Earthquake

And put another relief roll etching (when Murshid sings) in the back of the book, writing over it with acrylic matte or glossy, mantras of the world religions. The Mantras are written throughout the book. I incorporated 7 quotes on Light, and 6 poems I wrote when I went to Tibet with a Sufi group in 1986. The title page has a plate from the Rosicrucian Museum in San Jose. Another one from them appears as the image of the Valley of the Kings in Egypt, which is printed twice in grey, right side up and upside down, doesn’t matter where we are in space. Little holes of light, like Leonard Cohen suggested, let in the light, in this case by using Japanese hole punches. I had always wanted to add color to my traditional book making. So I brushed gouache on the pages with cotton balls. I also loved using colored pencils and straight lines to connect the pages, as well as printing blocks of wood used in printing, making them type high so the wood grain would shine through. Lobsong’s Mother’s page has a sumi painting I did of Japanese ink, of bamboo; I had a polymer plate made and printed it pink, because it is a color I don’t often use and I wanted to experiment.

LobsongsMother

I had fun drawing ladders into my etchings, connecting things, like thoughts, of planes of consciousness.
And stringing along the trajectory of human experience, you know, birth, life, death birth, life, death.

Life

In the signature where I have iconized my mother, and also did Xerox of her and me, I used end signatures I had left over from an edition of poems from a Rumi book I printed for Coleman Barks.
I like using Xerox and commercial papers in conjunction with the hand made papers (blue green) I made in Wisconsin many years ago.

Faces

I had learned a blanket stitch from Michael Burke and used that around the hole I cut with the hand showing through (One Handed Basket Weaving/Jelaluddin Rumi. Versions by Coleman Barks.)

Stitch

On the colophon page I started each line with a cap, spelling out my name, vertically as you read down.

Colophon

And hiding at the end of book is another poem about being on retreat in a hut, with an etching printed relief rolled and worked into, based on a courtyard in Florence, Italy, from a sepia print I inherited from my Grandfather who got it there in 1896.

The stories go on. My friend lived 5 years longer.”

Colophon: “Resurrected and transmogrified etchings form the basis for this Infinitesimal edition, primarily printed letterpress. Actual copies: Seven, using Dante and Goudy Engraved. Text papers include Arches BFK, and Somerset. Endpapers & concertina guards: Nefertiti, Long ago made by hand at Barcham Green Mill, and hoarded by me Awaiting the right project! Overprinted relief-roll etchings When Murshid Sings and Earthquake, may include laser-print, egg tempura, Assorted colored pencils, polymer plates, Xerox, cut-outs, sewing & Reticulated energy patterns. The laced-cords wooden board binding You are holding, is based on an 8th c. model. Hand-planed covers, Laboriously covered with deer or goatskin, are fitted with brass Ornaments. Thanks to both Laura Wait & Michael Burke, models of Undying inspiration. Copies are hand numbered.” Rare Books copy is no. 2.”

Artist’s addendum to colophon: “Maple and cherry covers are not covered. Bas-relief of right and left hand, carved into the front and back covers.

Hand

Books come enclosed in drop spine boxes. Trays are black calf or goatskin lined with white deer or golden elk skin. Outer covers: there are two purple ostrich and two of teal ostrich; two more of lime green bovine; and one in lime green goatskin.

Cover

Leather straps match the outer covers, and attach to brass hand-filed knobs on the fore-edge. A copper disc is inlaid on the front cover, a debossed crescent moon at its base. My Opus.”

Photographs by Scott Beadles

Best Graduation Present Ever

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ElementsofChemistryTitle

“It is not the history of the science, or of the human mind, that we are to attempt in an elementary treatise. Our only aim should be ease and perspicuity, and with the utmost care to keep every thing out of view which may draw aside the attention of the student. It is a road which we should be continually rendering more smooth, and from which we must endeavour to remove every obstacle which can occasion delay.”

“Like three impressions of the same seal, the word ought to produce the idea, and the idea to be a picture of the fact. And, as ideas are preserved and communicated by means of words, it necessarily follows, that we cannot improve the language of any science, without at the same time improving the science itself; neither can we, on the other hand, improve a science, without improving the language or nomenclature which it belongs to.”

– Antoine Laurent Lavoisier from Elements of Chemistry

Elements of Chemistry in a New Systematic Order, Containing All the Modern…
Antoine Laurent Lavoisier (1743-1794)
Edinburgh: Printed for William Creech; and sold in London by G. G. & J. Robinson, and T. Kay, M, DCC, XCIX (1799)
Fourth edition
QD28 L42 1799

Gift of Dr. Henry S. White, Dean, College of Science Distinguished Professor of Chemistry.

When he received his Ph.D in chemistry from the University of Texas, Henry Sheldon White’s mother gave him a copy of the fourth edition of Antoine Laurent Lavoisier’s Elements of Chemistry. The pages of this book were worn and brown with years of use, but it was intact, despite a deteriorated binding. Not a year later, while Dr. White held a postdoctoral appointment at MIT, he spent $105 to have the binding restored. The restoration was done by professional bookbinder and conservator Nancy Carlson Schrock.

The gift and its restoration were so important to Dr. White that he kept the book and the conservator’s invoice for the next thirty-four years. And then, he gave both to the Rare Books Department.

When Dr. White had occasion to hold our first edition of Lavoisier’s Traite, he fondly remembered the best graduation present ever. Dr. White remembered reading Lavoisier’s work like someone might remember holding the hand of one’s first love – a lasting impression, even as life moves on.

He remembered the detailed copper engraved illustrations at the back of the book, made by Lavoisier’s beloved wife, Marie-Anne Paulze Lavoisier. He lamented the loss of Lavoisier, who nearly survived, but did not, the French Revolution.

Henry White joined the faculty of the Department of Chemical Engineering and Materials Science at the University of Minnesota, where he was the McKnight and Shell Professor of Chemical Engineering. In 1993, he moved to the Department of Chemistry at The University of Utah where he is a Distinguished Professor. Prof. White is the Dean of the College of Science at The University of Utah, and previously served as Chair of the Department of Chemistry (2007 – 2013).

Dr. White’s current research interests include high-field transport in nanometer-wide electrochemical cells, DNA structural analyses using protein ion channel recordings, the formation and stability of nanobubbles, and transport phenomena in nanopores.

All of which is and ever shall remain a mystery to me. But I do understand how the newly confirmed Dr. White must have felt when he held this book in his hands, a preserved package of ideas communicated by means of words, at the beginning of a new journey.

Congratulations to The University of Utah’s 2017 graduating class. May you render the road smooth with ease and perspicuity.

~ Luise Poulton, Managing Curator, Rare Books


The Air We Breathe — He named this substance “oxygen”

Traite elementaire de chimie presente dans un…
Antoine Laurent Lavoisier (1743-1794)
Paris: Cuchet, 1789
First edition, second issue
QD28 L4 1789 vols. 1 & 2

Antoine Laurent Lavoisier laid the foundation for modern chemistry by establishing the concept of elements as substances that cannot be further decomposed. He carried out the earliest biochemical experiments and through these explained many of the cyclical processes in animal and vegetable life. One of the most important consequences of Lavoisier’s work was the establishment of the concept of the conservation of matter.

Traite elementaire is presented in the form of a manual. Lavoisier offered a new theory of chemistry treated in a systematic approach unlike anything that had preceded it. He used accurate measurements for chemical research, such as the balance for weight distribution at every chemical change. He reformed chemical nomenclature, assigning every substance a name based upon the elements of which it was composed. He proved that the increase in the weight of metals was due to something taken from the air, and that this effect was constant in all such processes. He named this substance “oxygen.” He concluded that water was a compound of oxygen and hydrogen. He understood that respiration and combustion were similar processes, and, since oxygen was that part of the air that combined with metals in the process of combustion, he named the resulting substances oxides.

Compound bodies were found to present the combined weight of the simple bodies of which they are composed, while, when these simple bodies are withdrawn, they have the same weight as was put in them; i.e. matter remains constant throughout all chemical changes.

The book contains thirteen copperplate illustrations, drawn and engraved by Lavoisier’s wife, a skilled painter who had studied under the artist Louis David.

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QD28-L4-1789-v.2-Planche2

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QD28-L42-1796-title

Elements of Chemistry…Translated from the French by Robert Kerr…
Antoine Laurent Lavoisier (1743-1794)
Edinburgh: Printed for William Creech, 1796
QD28 L42 1796

This Kerr edition of Lavoisier’s work is important for its considerable additions and for an interesting postscript in which Kerr bitterly condemns the execution of Lavoisier. “The Philosophical World has now infinitely to deplore the tragical and untimely death of the great LAVOISIER…If the sanguinary tyranny of the monster Robespierre had committed only that outrage against eternal Justice, a succeeding age of the most perfect government would scarcely have sufficed, To France and to the world, to repair the prodigious injury that loss has produced to chemistry, and to all the sciences and economical arts with which is it connected.” Kerr also alludes in his prefatory remarks to the larger work that Lavoisier was going to write. “Had Lavoisier lived, as expressed in a letter received from him by the Translator, a short while before his massacre, it was his intention to have republished these Elements in an entirely new form, composing a Complete system of Philosophical Chemistry…”

With two folding tables and thirteen folding copper-plates engraved by Lizars after Mme. Lavoisier. Rare Books copy bound in contemporary tree calf, gilt ruled, red morocco label and gilt on spine.

QD28-L42-1796-foldout