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Tag Archives: Germany

Book of the Week — Duineser Elegien

10 Monday Sep 2018

Posted by rarebooks in Book of the Week

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abstractions, alchemy, angel, birth, Castle of Duino, Count Harry Kessler, Cranach Press, crush, destruction, discontent, disdain, driven, E. Prince, Edward Johnston, Edward Sackville West, endure, English, Eric Gill, fugitives, G. T. Friend, Gaspard and Aristide Maillol, German, Germany, Hans Schulze, heart, Hogarth Press, humanities, Insel -Verlag, italic type, itinerants, landscapes, Leipzig, London, Maillol-Kessler paper, Max Goertz, metaphysical, Rainer Maria Rilke, sobs, Tavistock Square, terrible, terror, visions, Vita Sackville-West, Walter Tanz, watermark, will, Willi Laste, wood initials


Who would give ear, among the angelic host,
Were I to cry aloud? and even if one
Amongst them took me swiftly to his heart,
I should dissolve before his strength of being.
For beauty’s nothing but the birth of terror,
Which we endure but barely, and, enduring,
Must wonder at it, in that it disdains
To compass our destruction, every angel
Is terrible, and thus in self-control
I crush the appeal that rises with my sobs.

Duineser Elegien
Rainer Maria Rilke (1875-1926)
London: Printed for the Hogarth Press, 1931
First edition in English

From the translator’s note: “Something remains to be said of the actual content of the poem (for it is really a single poem in ten sections). This is admittedly exceedingly complex and arcane, and will not yield to a first, or even to a second reading. For Rilke’s poetry is of the metaphysical order and consists for the most part of an elaborate alchemy of hypostatised ideas, in the expression of which the invention of grammatical quips and subtleties plays…is an important part. His imagination seems naturally to have dealt in visions of embodied abstractions, and…he pushed the vision as far as possible, creating detailed landscapes and humanities of abstract categories…”


But tell me, who are these itinerants,
These fugitives more hasty than ourselves,
Urgently driven from the start, — by whom?
To gratify what discontented will?

From the colophon: “Count Harry Kessler planned the format of this volume. Eric Gill designed and himself cut on wood the initials. The Italic type was designed by Edward Johnston and cut by E. Prince and G. T. Friend. The paper was made by a hand process devised in joint research by Count Harry Kessler and Gaspard and Aristide Maillol. The book was printed in the winter and spring of 1931. Count Harry Kessler and Max Goertz supervised the work of setting the type and printing. Compositors: Walter Tanz and Hans Schulze. Pressman: Willi Laste.

The book was printed for the Hogarth Press, 52 Tavistock Square, London W. C. 1, and both the English and the German texts were reproduced by the courtesy of Insel-Verlag in Leipzig who are also the Agents for the book in Germany.

The whole edition consists of two hundred and thirty numbered copies for sale on handmade Maillol-Kessler paper with the watermark of the Cranach Press, and signed by the translators; and eight numbered copies on vellum for sale with hand-gilded initials, signed by the translators. This is copy Nr. 63.”

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Stop and Smell the Flowers

24 Thursday May 2018

Posted by scott beadles in Uncategorized

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Alaska, Alfred Lord Tennyson, Asia, Australia, Bill Edwardes, botany, climate, commerce, découpage, E. C. Alexander, endangered, English, Europe, flora, flower specimens, flowers, France, French, German, Germany, Hebrew, herbaria, Holy Land, International Pressed Flower Art Society, J. Willard Marriott Library, Japan, Jerusalem, Joyce Fenton, Lyuba Basin, May, Mexico, Middle East, nomenclature, olive wood, Oshibana, plant species, poppies, Pressed Flower Craft Guild, pressed flowers, repository, Russian, Ruth Miller Staats, Samurai, San Francisco, seeds, Silk Road, sunflowers, taxonomies, The Popular Bookstore, The University of Utah, tourism, United Kingdom, United States, Valdez, Valdez Museum Historical Archive, vegetation, Worldwide Pressed Flower Guide

“But I must gather knots of flowers and buds, and garlands gay;
For I’m to be Queen o’ the May, mother, I’m to be Queen o’ the May.”
–  Alfred Lord Tennyson, “The May Queen”

When was the last time you stopped to smell the flowers? I did it just two days ago, when the purple and white lilac bushes in front of my house produced such an aroma after the rain that I had to stop in my tracks to take it in. Some days I’ll pick the poppies and sunflowers that grow wild in the backyard and set them in a vase on the kitchen table, and if I’m feeling particularly extra, I will even go out and buy an arrangement to add some oomph to the room.

Although my allergies have been getting worse and worse every year, my enthusiasm for flora has yet to subside. I’ve been enjoying the slower campus days at The University of Utah, when I can wander around outside the library and take in all of the new blooms. I am always impressed with the assortment of flowers lining the pathways, some of which I recognize as native to the state, while others look unfamiliar, yet still alluring.


 

Natural Flowers of the Holy Land
Jerusalem, 1900s
QK 378 N37 1900z


We might find flowers attractive for a number of reasons ranging from color, shape, texture or smell, but did you know the craft of pressing flowers is actually an ancient art that dates back to 16thcentury? It is said that Samurai warriors in Japan once practiced this art, called Oshibana, as part of their discipline to promote patience and harmony with nature, as well as to enhance their powers of concentration.

The art of drawing with petals gradually spread from Asia to the Middle East along growing trade networks of the Silk Road. One outcome of this global commerce and tourism were elaborate souvenir books, popular in the late 19th century, Jerusalem. Different renditions of Flowers of the Holy Land combined photographs of holy sites in and around Jerusalem with pressed flowers gathered from those sites. These flowers were artistically formatted, bound between olive wood covers, and included translations from Hebrew into French, German, English and Russian, as they were sold to visitors coming from different parts of the world.


 

 

Flowers of the Holy Land
Jerusalem, 1900s
QK89 F56


Around the same time, botanists in Europe began systematically collecting and preserving flower specimens from all over the world. No longer a simple art form, the pressed plant books allowed scientists to study the flora of other countries and understand the variety of plant taxonomies, geographic distributions, and to develop an efficient and stable nomenclature. Furthermore, the books are able to preserve a record of change in vegetation over time for future scientists who are tracking changes in climate and human impact. Some books can even be viable repositories, holding seeds of extinct or endangered plant species. These specimen books, or herbaria, are not just pretty to look at for they contain crucial knowledge on every page.


 

A Collection of Wild Flower of California
E.C. Alexander
San Francisco: The Popular Bookstore, 1895
QK 89 A375


Anyone can gather flowers and create their own pressed flower book. Like Ruth Miller Staats, a resident of Valdez, Alaska who sold cards, artwork and booklets of pressed flowers to tourists during the 1930s and 1940s. Although Ruth had been paralyzed from the waist down following an airplane crash (she had sustained a double compound fracture of both legs, fracture of the pelvis, and a fractured lumbar vertebrae), her friends and neighbors gathered flowers for her to compile the pieces. Many of her items can now be found in the Valdez Museum Historical Archive.

Wild Flowers of Alaska
Ruth M. Staats
Valdez, Alaska, 1930s
QK 89 S73


The craft of pressing flowers can also extend beyond books. Petals and leaves can be applied to trays and other wood furnishings using the technique of découpage. Those who have a deep interest in the art can join the Pressed Flower Craft Guild, founded by Joyce Fenton and Bill Edwardes in 1983. Other organizations include the International Pressed Flower Art Society and the Worldwide Pressed Flower Guild, with members coming from countries such as Japan, Mexico, France, Germany, Australia, the United Kingdom and United States.

So come by and smell the flowers and allow yourself to appreciate the little things in life. Reflect on what is beautiful, fragile and simple, such as this small collection of books.

~Contributed by Lyuba Basin, Rare Books

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Book of the Week — Clavis Historia Thuanae

07 Monday May 2018

Posted by rarebooks in Book of the Week

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archivists, curia, Edict of Nantes, Edward Gibbon, England, French Enlightenment, French Revolution, Geneva, Germany, heresy, humanism, Index of Prohibited Books, Jac, Jacques Auguste de Thou, Jacques Dupuy, Keeper of the Royal Library, librarians, Parlement, philosophes, Portugal, Protestant, rare books, Roman Catholic, scholars, Spain, vellum, Voltaire, William Pitt

Clavis historiae thuanae: id est, nomenclature…
Jacques Dupuy (1591-1656)
Ratisponae: Sumtibus J. Z. Seidelii, 1696
Editio altera
D228 T552

Originally published in Geneva in 1634, this revised edition includes the word “Clavis” as the beginning of its title. The title translated into English reads: Nomenclature of Proper Names in the Historical Work of Jacques Auguste de Thou. Thou (1553-1617) was a historian whose fame and acclaim lasted well into the nineteenth century. His “History of His Own Time” (Historiarum sui temporis libri CXXXVIII) was added to the Index of Prohibited Books in 1609 for its humanist bent.

In spite of the ban and the humanism, his work received praise across the Roman Catholic/Protestant spectrum from Spain and Portugal to England and Germany. It was read by the curia it condemned and was a favorite of the Philosophes of the French Enlightenment. Voltaire referred to the “truthful eloquence” of Thou several times in his works. William Pitt quoted Thou, “the great historian of France,” in the early years of the French Revolution, and historian Edward Gibbon referred to Thou as the “authority of my masters.”

Thou was a leading member of Parlement. A Roman Catholic, he nonetheless counted many Protestants as his friends and helped negotiate the Edict of Nantes. He was appointed the Keeper of the Royal Library. His own library contained nearly 6,000 volumes, vast even by the standards of a private library-owning upper class. His “History” appeared in parts between 1604 and 1610. But the work was considered heresy in that it failed to condemn all Protestants outright. For this he fell from royal and papal favor.

The other indexer of Thou’s history was Jacques Dupuy, one of the many archivists and librarians who organized meetings of scholars at Thou’s home and, here, organized his book.

Rare Books copy bound in vellum, using loose leaves from another work. Pages are in double column format.

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A Donation Highlights Jewish Contributions to Commerce in Early America

20 Monday Nov 2017

Posted by rarebooks in Donations

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abolitionism, advertisement, America, American, army, Bank of the United States, broker, Charleston, commerce, Congregation Mikveh Israel, Congress, Cornwallis, delegates, donation, Dr. Ronald Rubin, Dunlap's American Daily Advertiser, duty, England, financier, Frankfurt, George Washington, Germany, Haym Salomon, Isaac Franks, Jewish, levy, Levy Department Store, newspapers, Nones and Cohen, Philadelphia, Rhode Island, Solomon Lyons, South Carolina, Southern Union, stock brokers, The Charleston Mercury, The Independent Gazetteer, The Pennyslvania Packet

Dr. Ronald Rubin has donated four issues of early American newspapers highlighting Jewish contributions to commerce.


The Pennsylvania Packet, Philadelphia, October 9, 1781, features an advertisement by Haym Salomon, broker, considered the Financier of the American Revolution.

In the news that day, a report on the war from September 28:

“Gen. Washington sent in a flag to lord Cornwallis directing him not to destroy his shipping or warlike stores, as he would answer it at his peril. The early capture of the out-posts will greatly accelerate the future operations of our army.”


The Independent Gazetteer, or the Chronicle of Freedom, Philadelphia, February 4, 1783, contains an advertisement by Philadelphia stock brokers Isaac Franks, and Nones and Cohen.

In the news that day, a letter from the editor regarding vesting “power to Congress to levy, for the use of the United States, a duty of 5 per cent…on all goods, wares, and merchandise, of foreign growth and manufacture, etc….” to which the author against Rhode Island’s demurs: “If the Congress of America was a body of individual permanency, there might just cause of jealousy; but, when it is considered, that every member is annually nominated by assemblies, who are themselves also annually chosen by the people, I cannot perceive the least ground of danger; nay, I believe in most of the states, the delegates to Congress are revocable at pleasure: so that evil of misapplied power may be check as soon as it appears.”


Dunlap’s American Daily Advertiser, Philadelphia, May 9, 1791, features an advertisement by Solomon Lyons, a prominent Colonial-era broker and financier. Lyons was born in 1760 in Frankfurt, Germany and died in 1812 in Philadelphia, having raised a family of six children and being an active participant with Congregation Mikveh Israel.

In the news that day, an observation from a correspondent:

“The Bank of the United States may justly be considered as a proposition made to the monied interest, foreign and domestic — & in fact, appears to both in a very favourable point of light – the latter, from every information, are making great preparations to subscribe, and the terms are so advantages that no equal object of speculation is perhaps presented in any quarter of the globe to the former.


The Charleston Mercury, Charleston, South Carolina, February 13, 1856, contains a front page illustration of Levy Department Store.

In the news that day, a piece on abolitionism:

“…the Southern States shall become strong. Then, like the barons of England in similar circumstances, that they be able to demand their rights under the magna charta of the land, or, failing to secure these, to dissolve their connection with a hostile and lawless section. Glorious, indeed, according to our view, would be the result of Southern Union…”

Thank you, Dr. Rubin, for years of your wonderful gifts!

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Book of the Week — Liber Moamin falconrii de Scientia venandi per aves et quadrupeds

03 Tuesday Oct 2017

Posted by rarebooks in Book of the Week

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al-Gitrif, al-Malik al-K'amil, al-Mutawakkili, Arabic, architecture, aristocracy, art, Baghdad, birds of prey, Bologna, caliph, chamber, Charles V, Christian, crusade, diplomat, diseases, dogs, Europe, excommunication, Faenz, Fakhr ad-d'in al-F'ars'e, falcon, falconer, falconry, feudal, Frederick II, Germans, Germany, Gothic Textura, historiated initials, Hohenstaufen, Holy Roman Empire, Hunayn ib Ish aq al-Ibad, hunting, illuminator, imperial, Islamic, Italian, Italy, Jerusalem, Knights of Saint John, Latin, literature, Malta, manual, manuscript, medieval, Mediterranean, miniatures, Moamin, Mongolian Empire, moulting, mouse, Palestine, papacy, parchment, Persian, physician, poetry, science, scribe, Sicily, Siege of Parma, sport, Sufi, sultan, Syrian, Theodore of Antioch, translator, vernacular

fFalconry1r
“In quantum enim sunt reges non habent propriam delectationem nisi venationem” — Moamin

“A wise falcon hides his talons.” — Proverb

Liber Moamin falconrii de Scientia venandi per aves et quadrupeds

Facsimile. The so-called “Wiener Moamin” was created on the Italian penisula in the second half of the 13th century at the request of Frederick II of Hohenstaufen, King of Sicily and Jerusalem, king of the Germans and the Holy Roman Empire. It is illuminated with 101 historiated initials and more than 80 miniatures. The Wiener Moamin is a Latin version of an Arabic treatise on falconry, Kitab al-mutawakkili, attributed to one Moamin by the Western world. The original content was probably inspired by two oriental hunting treatises from the 8th and 9th centuries: the falcon book of al-Gitrif and the treatise dedicated to the caliph al-Mutawakkili of Baghdad, a work written by Christian scholar, physician and translator Hunayn ib Ish aq al-Ibad who resided at the court of al-Mutawakkili between 809 and 873. These two works exist only in fragments. As early as this, falconry was embraced as an empirical science as well as a sport.

The work provides an in-depth aspect of hunting with birds and dogs, formatted in five books:

The first book focuses on birds of prey.
Books two and three are devoted to diseases of birds and tried and tested methods of healing.
The last two books deal with the keeping and care of hunting dogs.

Falconry17v
Falconer treats a bird’s headache with massage.

The translation of the Arabic version was done by the philosopher Theodore of Antioch, a Syrian naturalist and interpreter, one of the most prominent cultural representatives of the court of Frederick II. This manual became one of the earliest to circulate in medieval Europe. Several copies survive. Copies translated into the vernacular began to appear soon after the first manual appeared

Frederick II (1194-1250) was a falconer of note and participated in correcting the work in 1240, during the siege of Faenz, near Bologna. A few years after the king worked on this book, he wrote his own on the subject, De arte venandi cum avibus. This manuscript was lost in 1248 during the siege of Parma, but other copies exist. For his work, Frederick II used several sources, including the manuscript here.

Frederick II, a larger-than-life figure, counted himself as a direct successor to the Roman Emperors. He was excommunicated four times during a lifelong power struggle the papacy. He took part in a crusade (the sixth, in 1238) and spoke six languages, including Arabic. He was married three times and had at least nine mistresses, with whom he had illegitimate offspring. He was also an avid patron of art, poetry, literature, and architecture.

Frederick II ruled over most of what is now Italy and Germany as well as territories around the Mediterranean (including Malta and Palestine.) He is recognized as an enlightened ruler over a multi-cultural multitude of people.  Frederick II was an enthusiast of Arabic culture and became acquainted with falconry through personal contacts with representatives of the Islamic world. One of his teachers was Fakhr ad-d’in al-F’ars’e, a Persian Sufi and advisor to sultan al-Malik al-K’amil, who stayed at the Sicilian court as a diplomat. It is probable that he gained firsthand knowledge of Arabic falconry during wars conducted in 1228 through 1229. He obtained a copy of Moamin’s manual on falconry during this time.

Falconry was a popular sport and status symbol among aristocracy in medieval Europe, the Middle East, and the Mongolian Empire. There is some evidence of its use by commoners, although that was likely unusual due to the commitment of time, money, and space. So valuable were falcons that when Charles V ceded Malta as a fief to the Knights of Saint John, the feudal rent was the annual payment of a Maltese falcon. Scholars differ on the origin of falconry. Some speculate that it entered Europe through warring Germanic tribes. The Arab world claims a two thousand year headstart before Frederick II mastered it.

Falconry31v
An elegant lady falconer giving medicine to a sick bird.

The text is laid out in one-column in a uniform script of dark brown ink with red chapter headings. The historiated initials range form 4 to 10 lines in size. The initials offer information along with the text. The initial opening the section on fol. 7v, for instance depicts the mouse chamber of the falcons. During the annual moulting in the late spring, the birds were secluded by the falconer in a specially made chamber.

Falconry7v
Falcon renewing its flying feathers.

The initials are enhanced by flower and leaf forms which spread over the parchment. The painters of the manuscript added decorative interest to scientific text and image.

Marginal notes, written in Italian, give precise instructions to the illuminator, detailing which scenes to paint in the fields of the initials written by the scribe. Written by a single scribe, the script is Gothic Textura, identified by two forms of “r” and sharp, straight, angular lines.

The facsimile is bound in a manner of a time later than the text block — a mid-century fifteenth sample — green patterned velvet covers and two metal clasps. Facsimile edition of three hundred and eighty-one, two hundred and twenty of which are reserved for the Arab Region. Rare Books copy is no. 39.

 

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On Jon’s Desk: Frankenstein: or, The Modern Prometheus — a spooky reminder of the price of over-ambition

31 Monday Oct 2016

Posted by Jonathan Bingham in Book of the Week, On Jon's Desk

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19th Century Literature, Ambition, Brothers Grimm, Creature, Frankenstein, Frankestein Castle, Galvanism, Germany, Gersheim, Johann Conrad Dippel, Lord Byron, Mary Shelley, Monster, Murder, North Pole, Percy Shelley, re-animation, Scientific Discovery, Spooky, Switzerland, Theodor von Holst, Victor Frankenstein

pr5397-f7-1831-frontis-right

1831 edition illustrations by Theodor von Holst

“The day of my departure at length arrived.”

Title: Frankenstein: or, The Modern Prometheus

Author: Mary W. Shelley

The National Library (Third) Edition; First Illustrated Edition

Published: London: Henry Colburn and Richard Bentley, 1831

Pages: 200; Introduction and Preface included.

Call Number: PR5397 F7 1831

pr5397-f7-1831-title

Mary Wollstonecraft Godwin Shelley wrote the majority of Frankenstein during the summer of 1816 while vacationing in Switzerland with friends, her future husband Percy Bysshe Shelley among them, and completed the work in 1817. She was twenty years old when the story was first published in 1818. The story received very mixed reviews. Shelley revised it (to make it more conservative) for the third edition. She also included an extended introduction, in which she described how she came to write it:

“In the summer of 1816, we visited Switzerland, and became neighbors of Lord Byron. … But it proved a wet, ungenial summer, and incessant rain often confined us for days to the house. Some volumes of ghost stories, translated from the German into French, fell into our hands. … “We will each write a ghost story,” said Lord Byron; and his proposition was acceded to.” (Introduction, pages vii – viii)

She went on to describe a conversation between Lord Byron and Percy Shelley concerning galvanism (the contraction of the muscle when stimulated by electric current), during which the question arose as to whether a creature might “be manufactured, brought together, and endued with vital warmth” (Introduction, page x) through this process. Her participation in this discussion led to a sleepless night and acted as the catalyst for the creation of her shocking story.

"Night waned upon this talk, and even the witching hour had gone by, before we retired to rest. ... behold the horrid thing stands at his bedside, opening his cutrains, and looking on him wsith yellow, watery, but speculative eyes." - Mary Shelley, Introduction, Pages X & XI

“Night waned upon this talk, and even the witching hour had gone by, before we retired to rest.” – Mary Shelley, Introduction, Page X

One other probable source for the foundation of Mary Shelley’s story exists. Traveling along Germany’s Rhine River in 1814, she stopped at the city of Gersheim. Ten miles from this city was Frankenstein Castle, where two centuries earlier an alchemist had engaged in experiments and allegedly exhumed bodies to use for conducting medical research. It is possible that Mary Shelley had heard the tale told by the Brothers Grimm about the alchemist Johann Conrad Dippel’s accidental creation of a monster when one of the bodies under study re-animated after being struck by lightning. Despite Shelley’s stay in Gersheim, a link between her story and this tale has not conclusively been made.

Mary Shelley’s Frankenstein is the story of a young, ambitious scientist, named Victor Frankenstein, who discovers a technique to impart life to non-living matter. Using large body parts, due to the difficulty of manipulating small ones, Victor creates an eight foot tall monster with yellow eyes and skin that barely conceals the blood veins beneath. The young scientist is severely disappointed with his creation’s grotesqueness and abandons it, causing it to suffer torment and ridicule.

pr5397-f7-1831-frontis-left

After some months the creature finds the scientist in the mountains, where he has fled out of guilt, and begs his creator to take him in. Victor refuses and the creature is subjected to rejection at every turn. The creature swears vengeance on his creator for bringing him into a world that hates him and returns to the Frankenstein family estate, where he murders the scientist’s brother. The creature again confronts the scientist and demands that he return to his research and produce a wife for it. Victor Frankenstein, afraid for the safety of his family and friends, agrees, but after commencing the work becomes increasingly concerned the creature will spawn a new race of monsters if its wish is fulfilled. The scientist reverses his decision and destroys his own work.

Shortly thereafter Victor marries and the creature murders his new wife. Victor chases the creature to the North Pole, where he is found by a crew of explorers. Dying of hypothermia, Victor relates his tragic story to the crew’s Captain. After Victor dies the Captain sees the creature on the ship, mourning the death of his creator. The creature tells the Captain that Victor’s death has not brought him peace, rather it has left him completely alone. The creature then vows to commit suicide so that no one will ever know of its existence. The Captain watches as the creature drifts away on an ice raft, never to be seen again.

In Frankenstein, Victor obsesses over creating life in an unnatural way. He lets his desire to push scientific boundaries cloud his ability to make a responsible decision concerning his work. This ultimately leads to terrible consequences for Victor and his family. As Victor dies from his over-exposure to the harsh environment of the North Pole, he warns the Captain against over-ambition. This warning plays a role in the Captain’s decision to not continue his scientific expedition and possibly saves the lives of him and his crew.

Victor’s ambition and poor decisions concerning his work lead to the murder of multiple people he loves and then finally to his own premature death. The creature commits these crimes as a way to punish Victor, much like a child lacking attention will resort to lashing out in negative ways to force an interaction with a parent. The story evolves from one of scientific discovery to one of horror only after Victor rejects the creature.

Victor’s creation repeatedly reaches out to him and is continuously rejected. The creature understands that it is the ability to form a connection with another that makes one human. He tries to blackmail Victor into creating a wife and, in that way, fulfill this need. Again Victor denies it of the one thing that would make it human, continuing its neglect and alienation. The reader must contemplate how differently the story may have ended if Victor had formed a loving connection with the creature quickly after bringing it to life. It is spooky to consider in what ways our ambition may block the forming of these vital connections. To what level are we Victor and to what level are we the creation?

Contributed by Jon Bingham, Rare Books Curator

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Book of the week – De rerum natura

04 Monday Jan 2016

Posted by rarebooks in Book of the Week

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afterlife, Alexander Pope, biblical, blind-tooled, blindstamped, body, British, Cambridge, Church of England, classics, Constance, De rerum natura, decoration, engraved, Epicurus, fire, folio, French Revolution, frontispiece, Fulda, Germany, Gian Francesco Poggio Bracciolini, Gilbert Wakefield, gilt, gods, government, Greek, Hamilton, Homer, Horace, Jesus College, Londini, Lucretius, mathematics, ministry, morocco, mortal, nature, New Testament, pamphlets, poem, poet, portrait, punishment, rules, scholar, soul, Titus Lucretius Carus, tragedies, Tuscan, Unitarian, vicar, Virgil, Wa, Wakefield, world

PA6482-A2-1796-v.1-portraitPA6482-A2-1796-v.1-titlePA6482-A2-1796-v.1-pg1

DE RERUM NATURA LIBROS SEX, AD EXEMPLARIUM…
Titus Lucretius Carus (ca. 99 BCE – ca. 55 BCE)
Londini: Impensis editoris, typis A. Hamilton, 1796-7
PA6482 A2 1796 oversize

De Rerum Natura is the only surviving work of Lucretius. Only one manuscript copy of it is known to exist. This manuscript was found in 1417 in a monastery at Fulda in Germany by Gian Francesco Poggio Bracciolini, a Tuscan secretary to a church general council at Constance.

It is a didactic poem of 7,400 lines in six books, in which the poet expounds on the world view of the ancient Greek philosopher, Epicurus. The object was to abolish belief that the gods intervened in the world and that the soul could experience punishment in an afterlife. Lucretius demonstrated that the world is, instead, governed by mechanical laws of nature. He described the soul as mortal and posited that it perishes with the body.

This is the first edition of the “Wakefield” edition, the edition by Gilbert Wakefield (1756-1801). Wakefield was a biblical scholar. The son of a vicar, he entered Jesus College, Cambridge, through a scholarship. He studied mathematics and the classics. Although he took orders, he left the ministry and the Church of England and became a Unitarian. He earned his living as a tutor while writing controversial pamphlets attacking the government. He was imprisoned for two years for the publication of a pamphlet titled, “A Reply to some Parts of the Bishop of Landoff’s Address,” in which he defended the French Revolution. To support himself, he published a translation of the New Testament (1792), companion editions to Horace (1794) and Virgil (1796), an edition with commentary of Greek tragedies (1794), an annotated edition of Alexander Pope’s Homer (1796), and this, his Lucretius. He published his De Rerum Natura at his own expense.

The book established Wakefield as a leading British scholar. The large paper, folio edition was mostly destroyed by a fire in the printing-office in which they were stored.

Engraved portrait of Gilbert Wakefield on frontispiece. Bound in contemporary straight-grained black morocco, panelled covers with broad blind-tooled borders and gilt edges, spine with broad gilt rules and blindstamped decoration. Edition of fifty copies.

 

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Book of the Week – Martin Luther

15 Monday Jun 2015

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Albrecht Dürer, biblical commentary, Christ, copyright, Germany, halo, Hans Bauldung Grien, historiated woodcut, Holy Roman Empire, homilies, Johann Schott, Latin, lions, Martin Luther, Medieval Europe, Otto Brunfel, portrait, Postil, proprietary law, putti, Reformation, Roman Catholic, Roman Catholic Church, sainthood, sermons, stags, Strasbourg, title page, title page border, unicorns, Wittenberg, woodcut border, woodcuts


XIII. PREDIG. NEWLICH…ANNO XXIII. ANHENGIG DEN…
Martin Luther (1483-1546)
Strasbourg: Johann Schott, 1523
Second edition
BR332 S3 1523

A copy from one of only two editions of this collection of thirteen sermons by Martin Luther. The collection of sermons was a supplement to “Twenty Seven Sermons” (1523). These two collections, along with “Fourteen Fine Christian Sermons” (1522) were part of one of the most important projects of Luther’s career: the creation of a Postil for the reformed church.

Luther wrote his sermons in a piecemeal fashion. His Postil was printed a few pieces at a time. “Thirteen Sermons” is from the early period of his Postil composition. The early printed sermons represent Luther’s own vision for the Postil. Editorial changes were made by reform Lutheran leaders after his death.

“Postil” was originally a term used in Medieval Europe for biblical commentary, derived from the Latin term “post ill verba textus” (after these words). “Postil” later referred to homiletic exposition as opposed to thematic sermonizing. By the mid-fourteenth century, the term was applied to an annual cycle of homilies.

In early sixteenth century Roman Catholic preaching, especially in Germany, postils were commonly used. Luther began publishing his Postil (that is, his suggested annual series of homilies) in Wittenberg in 1521, as replacements for those used by the Roman Catholic Church.

This edition is illustrated with a historiated woodcut title-page border, thought to be by Hans Bauldung Grien, a student of Albrecht Dürer, which includes printer Schott’s monogram, putti, unicorns, lions, and stags. A full-page portrait of Luther by Grien faces the title-page. A small image of Christ appears on the title-page. The penultimate leaf has a four-part woodcut border, also attributed to Grien. The portrait of Luther is of particular interest.

The original portrait, first published by Schott in 1521, included a halo surrounding Luther’s head (signifying sainthood). The fact that the halo was removed in a second edition printed only two years later suggests the swiftness of Reformation theological departure from Roman Catholic notions of the spiritual power of church leaders.

Printer Johann Schott was famous for using excellent woodcuts by noted artists of the day, including students of Dürer. In 1533, he took another printer to court over the reprinting of one of his illustrated books (Otto Brunfels’s herbal). The case is the first reprint suit documented in the Holy Roman Empire, an example of how the commerce of printing changed notions of proprietary law, i.e. copyright, for the written word and for art; authors and artists; and, of course, publishers.

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Book of the Week – New Borders: The working life of Elizabeth…

05 Monday Jan 2015

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Adolf Hitler, Bauer Type Foundry, Bembo, Berlin Academy, calligraphy, Curwen, Elisabeth-Antiqua, Elizabeth Friedlander, Ellic Howe, English, font, forgery, Francis Meynell, Frankfurt, Friedlander-Antiqua, Georg Hartmann, Germany, Incline Press, Italian, Italy, Jewish, Linotype Corporation, London, Mondadori, Monotype, Nazi, Pauline Paucker, Penguin Books, propaganda, rubber stamps, Sandhurst, Third Reich, typeface, typography, Wehrmacht


New Borders. The working life of Elizabeth…
Pauline Paucker
Oldham, United Kingdom: Incline Press, 1998

Elizabeth Friedlander (1903-1985) produced calligraphy and decorative designs for books from the 1920s until her death. New Borders is based on her workbooks, which she kept throughout her life.

Born into an affluent family, Friedlander studied typography and calligraphy at the Berlin Academy. She worked for the German fashion magazine, “Die Dame,” designing headings and lay-outs, and attracting the attention of Georg Hartmann of the Bauer Type Foundry in Frankfurt. He invited her to design a typeface. This was to become their Elisabeth-Antiqua. It was originally meant to be named Friedlander-Antiqua. However, Adolf Hitler came to power just as the type was ready to be cast. Hartmann suggested that the name be changed from her Jewish surname to her first name.

The font was cut in 1939, after Friedlander left Germany. Under the Third Reich, Friedlander was forced to apply for official registration and was refused a work permit. She moved to Italy, where she was permitted to work so long as she did not become politically active. She learned Italian and worked with the publisher Mondadori, but in 1938, harsh Italian Race Laws threatened her employment. She moved to London, where she learned English and found a job as a domestic servant.

Francis Meynell found work for her as a designer. By 1942, she was in charge of design at Ellic Howe’s propaganda unit, where she produced forged Wehrmacht and Nazi rubber stamps while also working on freelance commissions.

Her most notable work included patterned papers for Curwen and Penguin Books, decorative borders for the Linotype Corporation, printer’s flowers for Monotype, and calligraphy for the Roll of Honour at Sandhurst.

Examples of her work tipped-in. Set in Bembo. Bound in half cream cloth over yellow and green-patterned paper, with a printed paper cover label. Edition of three hundred and twenty-five copies, signed by the author.

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Book of the Week – De la Lingua che si Parla & Scriue in Firenza…

31 Monday Mar 2014

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Antwerp, Arnoldus Arlenius, Basel, Bologna, Cosimo, Duke Cosimo I, Duke of Florence, Dutch, Filipo Giunta, Florence, France, Germany, Greek, Italian, Italy, Ivie J. and Jeanne M. Nielson, Latin, Lorenzo Torrentinus, Lyon, Netherlands, Pierfrancesco Giambullari, printer, printing, Torrentino, type foundry, typographic, Venice

Giambullari, De la Lingua…, 1551, Title Page
Giambullari, De la Lingua…, 1551, Portrait
Giambullari, De la Lingua…, 1551

De la Lingua che si Parla & Scriue in Firenza…
Pierfrancesco Giambullari (1495-1555)
Firenze: Torrentino, 1551

Printer Lorenzo Torrentinus (1499-1563) was a Dutch-Italian humanist and printer for Cosimo, Duke of Florence. He was born in the Netherlands into a wealthy family. After his studies, he began working for printers and booksellers in Antwerp, Basel, Lyon, Venice and Bologna. There, he worked as a bookseller with Arnoldus Arlenius, a well-known and well-respected Greek scholar. They imported books in Greek and Latin from France and Germany, selling them throughout Italy. They also acted as liaisons between authors and printers.

After the death of Filippo Giunta, the great Florentian pressman, printing in Florence deteriorated from an art to a trade. Duke Cosimo I brought Torrentino to Florence to improve the quality of printing in his city. In 1577 Torrentino opened his own press in Florence. He produced nearly two hundred and seventy-five editions. His work was of high quality and his reputation and business flourished. In 1562 he became director of a type foundry. His press was managed by his sons. His careful and artful typographic skills enabled him to contribute to the development of Italian languages. Like the best printers of the era, Torrentino carried equally the roles of editor, translator and commentator.

University of Utah copy gift of Ivie J. and Jeanne M. Nielson.

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