Book of the Week — Mercury: or the Secret and Svvift Messenger

05 Monday Feb 2018

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alphabet, Bishop of Chester, chaplain, cipher, codebook, communication, cryptology, English, Fleetstreet, George, Iohn Maynard, John Wilkins, Lawrence Strangman, London, Oliver Cromwell, Royal Society, Saint Dunstans Church, Timothy Wilkins

“There is no safety but by flight.”

Mercury: or the secret and svvift messenger…
John Wilkins (1614-1672)
London: Printed by I. Norton, for Iohn Maynard, and Timothy Wilkins, and are to be sold at the George in Fleetstreet, neere Saint Dunstans Church, 1641
First edition
Z103 W68 1641

This codebook has charts and figures describing how the reader can master the art of secret communication. It is the first book in English on cryptology, published anonymously in 1641. John Wilkins, a chaplain who married Oliver Cromwell’s sister and became Bishop of Chester and a founder and first secretary of the Royal Society revealed himself to be the author when the second edition was printed that same year.

Mercury introduced the words “cryptographia” (secret writing), and “cryptologia” (secrecy in speech) into English. Wilkins defined “cryptomeneses” as the art of secret communication, in general. Wilkins described three kinds of geometrical cipher, a system in which a message is represented by dots, lines, or triangles.

The letters of the alphabet, in normal or mixed order, were written out at known spatial intervals, serving as the key. This line of letters was held at the top of a sheet of paper, and the message was spelled out by marking a dot for each plaintext letter underneath that letter in the key alphabet, each dot lower than its predecessor. The dots could then be connected by twos to form lines, by threes to form triangles, or all together to form what would look like a graph. Or, they could be left as dots. The receiver, who had an identically proportioned key, noted the positions of the dots, the ends of the lines, or the apexes of the triangles against the alphabetical scale to read the plaintext.

The end papers and flyleafs, front and back, are 17th century printer’s waste from an unidentified French to English dictionary. Ex libris Lawrence Strangman, a collector of 16th to 20th century English literature.

On Jon’s Desk: The Wonders of the Invisible World – New England, a Battle Ground of Demons and Lawyers

31 Tuesday Oct 2017

Posted by Jonathan Bingham in On Jon's Desk

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1693, 1862, Battle Ground, Cotton Mather, demons, Elizabeth How, Evil Magical Power, Halloween, John Russell Smith, Jon Bingham, Lawyers, London, New England, Puritan Colony, Salem With Trials, Satan, Spectres, The Devil, The Wonders of the Invisible World, witches

“It has been a most usual thing for the bewitched Persons, at the same time the Spectres representing the Witches, troubled them, to be visited with Apparitions of Ghosts, pretending to have been Murdered by the Witches then represented. And sometimes the Confessions of the Witches afterwards acknowledged those very Murders, which these Apparitions charged upon them; altho’ they had never heard what Informations had been given by the Sufferers.”

– From chapter four (“The Tryal of Elizabeth How”) of The Wonders of the Invisible World

Title: The Wonders of the Invisible World, being an account of the tryals of several witches lately executed in New-England

Author: Cotton Mather (1663 – 1728)

Published: London: J. R. Smith, 1862

Call Number: BF1575 M38 1862

In the late seventeenth century a battle waged across New England. No, it wasn’t the French and Indian War. That one wouldn’t occur for another half century. This was a battle which became manifest in church sermons and in the court room. It wasn’t fought for land. Rather, souls were at stake. Demons were on the rampage, deploying witches in their evil attacks on righteous, Christian New Englanders. The Devil had mobilized and his captains, the demons, gave marching orders to these witches, who did their best to cause the righteous to suffer. Or so some claimed.

One such individual was Cotton Mather, a socially and politically influential New England Puritan minister, prolific author and pamphleteer. Mather was a graduate of Harvard College and participated in the scientific development of hybridization and disease prevention through inoculation, but it is not for these contributions he is most commonly remembered. Rather, his legacy rests on his support of the Salem witch trials. He became a proponent for the controversial topic of spectral evidence, which is a form of evidence based upon dreams and visions. The verdicts of the Salem witch trials rested greatly on spectral evidence. Mather argued that it was appropriate to admit spectral evidence into legal proceedings, but cautioned that convictions should not be based on spectral evidence alone as it was possible for the Devil to take the shape of an innocent person.

Mather published The Wonders of the Invisible World in 1693, as a defense for the part he played during the trials. In this work he presents himself as an objective historian, drawing on court documents to offer a record of the events. Through this work the reader can easily see that Mather believed that witchcraft existed and was the product of evil magical power granted by the devil to those who swore an oath to him. Mather believed witches were the devil’s tools, used to undermine the Puritan colony in Massachusetts. He fought back against the Devil’s legions as best he could, primarily with sermons and his quill. With his help many alleged followers of Satan became casualties of the then court system.

The accounts contained in this book are super spooky and if a Harvard-trained Puritan minister supporting the admissibility of spectral evidence in court doesn’t scare you I don’t know what will. I just hope you don’t run into any demons, witches, or spectres this Halloween. Or, if you become one yourself, that spectral evidence isn’t laid out against you. Instead, come to Special Collections at the J. Willard Marriott Library and let your socks be scared off while reading Mather’s accounts of the Salem witch trials.

~ Contributed by Jon Bingham, Rare Books Curator

Book of the Week — Fairies I Have Met

16 Monday Oct 2017

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British, Edmund Dulac, Fairies, France, Japanese, John Lane, London, Mrs. Rodolph Stawell, New York, Outlook, Penelope, textile design, Toulouse

“She noticed that the girls and boys in the books were not altogether like the girls and boys who played with her in the Square and came to tea with her. The children in the books were wonderfully brave and clever; and when they were having their magnificent adventures they always did exactly the right thing at the right moment.”

FAIRIES I HAVE MET
Mrs. Rodolph Stawell
London; New York: John Lane, 1907?
First edition
PZ8 S488 Fa 1907

Mrs. Stawell wrote these tales for a little girl named Penelope. This book is illustrated with eight color plates by Edmund Dulac (1882-1953), one of the premier illustrators of the golden age of children’s book. Born in Toulouse, Dulac studied art in France. He became a British citizen in 1912. He is, perhaps, best known for his illustrations for Fairies. Reviewed in the British journal Outlook in November 1907, the reviewer focuses on the detailed and whimsical illustrations of bold design. Dulac took inspiration from textile design and Japanese prints to depict the vibrant stories.

Recommended reading: For a modern-day, adult fairy tale, appropriately creepy to the season, we recommend The Changeling by Victor LaValle, in the Browsing Collection, PS3562 A8458 C48 2017

Book of the Week — On Painting

17 Monday Jul 2017

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aquating, architecture, blind, Brunelleschi, carborundum, copper, copperplate oil, Donatello, drypoint, engineering, etching, Florence, goatskin, inks, intaglio, Italian, Leon Battista Alberti, London, Masaccio, mathematics, mezzoting, Michael R. Thompson Rare Books, painter, Perspex, pigments, poetry, Prose, relief, sand grain, sculpture, Susan Allix, Tuscan, zinc

“Colour and light have an important relationship in the act of seeing…colours multiply among themselves, but, like the elements, there are only four true colours from which other species of colour are born. There is red, the colour of fire; blue, of air; green, of water; and earth, ashen grey…from these four colours according to the addition of light or dark, black or white, are made innumerable other hues. Therefore the mixing in of white will not change the basic colour, but just make tints;’ and black has a similar power, with its addition making an almost infinite number of colours. You can see colours alter in the shade; when the shade deepens the colours fade, when the light brightens they become brighter and clearer.” — Leon Battista Alberti

ON PAINTING
Leon Battista Alberti (1401-1472) and Susan Allix
London: 1999
ND1130 A4813 1999

Leon Alberti was born in 1401 in Florence. His art was influenced by the work of Brunelleschi, Donatello, and Masaccio. He wrote On Painting in order to “set forth principles to be followed by the painter.” Alberti then turned his attention to architecture, for which he is better remembered today. He wrote De Re Aedificatoria and received several commissions for building projects. He had a deep understanding of the classical past, but an eye for contemporary change. He wrote on sculpture, poetry, prose, mathematics, engineering and other topics. His work was studied by generations of artists.

This translation of On Painting is by Susan Allix, based on the Italian text published in L. B. Alberti, Opere Volgari, Volume Terzo. Allix writes, “This translation…is a painter’s translation and includes those parts that seem to hold, for the present, the most important of Alberti’s ideas…it has been extensively abridged to prevent it from becoming several volumes.”

In a letter to Michael R. Thompson Rare Books, Allix wrote, “One day I started to read Alberti’s book and was astounded at his idea that everything begins with a dot. I spent a long time struggling away with fifteenth century Tuscan (helped with a more modern translation), but present Italian hasn’t altered so much and I did find it readable. I wanted my own translation. Slightly unprofessionally some of this was done in the afternoon quiet of an Italian camping site. One interesting page is where I followed Alberti’s instructions on how to achieve a squared pavement. So complicated, I never believed it would work, but lo and behold the perspective of the squared pavement appeared!”

This edition contains twenty-eight intaglio prints, the result of four years of sketchbook observation and drawing, plate-making and reworking the plates. The prints were made from copper, zinc, and Perspex plates, and contain a wide variety of techniques. There is etching, drypoint, and mezzotint, often in combination, and also open bite, aquatint, sand grain, and carborundum. The plates have been printed black and white and color in intaglio, relief and blind. All the inks are made from pure pigments ground in copperplate oil, so interleaving sheets is necessary to stop the plates from offsetting. As each plate is hand-inked and printed separately, complete uniformity is not possible. Twenty of the prints are in color, seven in black and white, one in blind, and many have extra hand-coloring on the prints or the type. The first ten copies, of which this is number three, have watercolor and pencil paintings on Japanese paper between each of the three of Alberti’s books.

Bound in full cream goatskin, upper cover tinted with a border of darker purple dye, extending to the spine, and an abstract design of other lighter tints and various colored goatskin onlays with textured endpapers.

Rare Books copy has holographic letter written in ink on both sides of the press’s stationary from Allix to book collector Denis Collins, prospectus, and biographical article about the author, entitled “God is in the datail,” laid in. Signed in ink on the verso of the front flyleaf: “For Denis/with warmest regards/Susan/11 April 2000.” Collins’ stamp on recto of terminal endpaper. One of twenty-two copies, numbered and signed by the artist.

We Recommend — The Theophilus Legend in Medieval Text & Image

21 Wednesday Jun 2017

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Abraham, angels, apostate, Associate Professor, Cambridge, Christ, Comparative Literature, Countess of Winchester, D. S. Brewer, Danish, David, demons, Department of World Languages and Culture, Devil, Earl Ferrers of Derby, embossed leather, European, facsimiles, Faustian, France, French, Gothic, illuminations, Ingeborg Psalter, Jerry Root, Jesse, Lady Eleanor de Quincy, Lambeth Apokalypse, Latin, London, manuscript illuminations, medieval, medieval manuscripts, miniatures, Moses, Muller & Schindler, New Testament, Old Testament, ornamental initials, painting, psalms, Rare Books Department, saint, salvation, St. John, Stuttgart, The University of Utah, Theophilus, Theophilus legend, Virgin, Virgin Mary, William III

“The legend’s popularity is a tribute to its ability to make the plight of individual salvation tangible and visible at a time when that salvation must seem highly uncertain.” — from the Introduction

The Theophilus Legend in Medieval Text & Image
Jerry Root
Cambridge: D. S. Brewer, 2017
PN687 Ts R66 2017

From the publisher’s website: “The legend of Theophilus stages an iconic medieval story, its widespread popularity attesting to its grip on the imagination. A pious clerk refuses a promotion, is demoted, becomes furious and makes a contract with the Devil. Later repentant, he seeks out a church and a statue of the Virgin; she appears to him, and he is transformed from apostate to saint. It is illustrated in a variety of media: texts, stained glass, sculpture, and manuscript illuminations.
Through a wide range of manuscript illuminations and a selection of French texts, the book explores visual and textual representations of the legend, setting it in its social, cultural and material contexts, and showing how it explores medieval anxieties concerning salvation and identity. The author argues that the legend is a sustained meditation on the power of images, its popularity corresponding with the rise of their role in portraying medieval identity and salvation, and in acting as portals between the limits of the material and the possibilities of the spiritual world.”

Jerry Root is Associate Professor of French and Comparative Literature in the Department of World Languages and Culture at The University of Utah.

The Rare Books Department has facsimiles of two of the medieval manuscripts Prof. Root worked with for his book.

PSAUTIER D’INGEBURGE DE DANEMARK (INGEBORG PSALTER)
Graz: Akademische Druck- u. Verlagsanstalt, 1985
ND3357 I5 D4 1985

Facsimile. Produced around 1195 in northeastern France, the Ingeborg Psalter is written in Latin with two flyleafs of inscriptions in French. The illuminations in this work represent a turning point in the history of European painting, when artists left behind abstract and highly stylized forms in favor of a more naturalistic representation of the world. The three-dimensional qualities of the figures, their proportions, and their expressive movements stand out as essential innovative elements in the emerging Gothic style of the early 1200’s. The manuscript is named after its first owner, Ingeborg, a Danish princess and spouse of King Philip II of France, who was expelled by her husband for unknown reasons shortly after their wedding. The beginnings of the psalms are rubricated with ornamental initials. Some of the psalms are illuminated with ornate figural initials depicting scenes from the life of David. A large number of elaborate miniatures of a decisively new style and design greatly influenced the art of illumination in the Gothic period. The illuminations depict episodes from the lives of Abraham and Moses, followed by the root of Jesse marking the transition between the Old and New Testaments. Further illuminations are based on themes taken from the life of Christ. Finally, scenes from the legend of Theophilus are depicted. In this popular medieval epic, the sinner Theophilus devotes himself to the Devil and is saved by the Virgin Mary, thus introducing the Faustian motif for the very first time. Bound in embossed leather. Edition of five hundred copies. University of Utah copy is no. 396.

Homage to the Devil, Prayer to the Vigin, Retrieval and Return of Contract

DIE LAMBETH APOKALYPSE
Stuttgart: Muller & Schindler, 1990
BS2822.5 L35 M67 1990

Facsimile. This manuscript was likely commissioned by Lady Eleanor de Quincy, Countess of Winchester (ca. 1230-74), daughter of William III, Earl Ferrers of Derby (1200-1254). It was produced circa 1252-67, probably in London. Eleanor is depicted in one of the illuminations that serve as a visual appendix to the book. St. John’s revelatory vision of the end of the world was a popular subject for medieval illustration, given the emotionally powerful images of clashing armies of angels and demons and terrestrial and celestial upheaval evoked by the text. Seventy-eight miniatures include the Dragon being cast into Hell (Rev. 20:9-10) and Christ sitting in Final Judgment (Rev. 20:11-15). The text, in Jerome’s Latin Vulgate, includes extracts from an eleventh century theological commentary on the Book of Revelations. Illuminated Apocalypses were fashionable in England when this manuscript was produced. The commentary was added to ensure that the reader was correctly guided through an understanding of the biblical symbolism. Illuminations helped with this guidance, but they also served as a statement on the owner’s social position. The more lavish the production, the more prominent the owner, or, at least, the more wealthy. The book was intended to educate, but also to entertain.

Theophilus goes to the Jewish intermediary: pays homage to the Devil

Virgin takes back contract, hellmouth; Return of contract

Prayer to the Virgin; Virgin consults Christ

Best Graduation Present Ever

04 Thursday May 2017

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Antoine Laurent Lavoisier, bookbinder, chemistry, College of Science Distinguished Professor of Chemistry, conservator, copper engravings, Department of Chemical Engineering and Material Science, Department of Chemistry, Dr. Henry S. White, Edinburgh, French Revolution, history, Journal of American Chemical Society, London, McKnight and Shell Professor of Chemical Engineering, MIT, Nancy Carlson Schrock, nanopores, nonobubbles, Rare Books Department, science, The University of Utah, University of Minnesota, University of Texas, William Creech

“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.

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.

Book of the Week — An Essay Towards a Real Character…

18 Tuesday Apr 2017

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animals, Bishop of Chester, cryptography, engravings, Gellibrand, grammar, Great Fire of London, John Ray, John Wilkins, Joseph Moxon, language, Latin, letterforms, London, music, Oliver Cromwell, paneled calf, phonetics, plants, printing, Robert Boyle, Robert Hooke, Royal Society, space travel, symbols, theology, Trinity College, typography, University of Utah, vowels, William Harvey, William Lloyd

“…Letters, the Invention of which was a thing of so great Art and exquisiteness, that…doth from hence inferr the divinity and spirituality of the humane soul, and that it must needs be of a farr more excellent and abstracted Essence that mere Matter or Body…” — John Wilkins

An Essay Towards a Real Character, and a Philosophical Language
John Wilkins (1616-1672)
London: Printed for S. Gellibrand, 1668
First edition

John Wilkins, Bishop of Chester, was the chief founder of the Royal Society and its first secretary. He was Master of Trinity College. Wilkins was acquainted with many of the great minds of his day: William Harvey, Christopher Wren, Robert Boyle and Robert Hooke. He married the younger sister of Oliver Cromwell. In 1662, he lost all of his library and scientific instruments to the Great Fire of London. He was interested in just about everything — from theology to cryptography, music to space travel. He worked on creating an artificial universal language to replace Latin as a means of clearer communication between scholars and philosophers.

In this book Wilkins discussed the origin of language and letterforms, as well as a theory of grammar and phonetics. He classified words by their meanings and assigned each class a set of typographical characters, in an attempt to create a rationally ordered language and system of symbols.

He divided the universe into forty classes, or categories, and subdivided these, and then subdivided these. To each class he assigned a monosyllable of two letters; to each subdivision he added a consonant; to each further subdivision, or species, he added a vowel. Each letter, or symbol, had meaning.

John Ray drew up systematic tables of plants and animals for the book. An index was created by Dr. William Lloyd. Joseph Moxon (1627-1691) cut the typographical characters Wilkins proposed for his language. Moxon was the author of Mechanick Exercises, the first comprehensive manual of printing and letter-founding in any language.

The first issue of the first edition appeared without any of the engraved plates. This copy, apparently a second issue, contains all of the plates, although two folded leaves of tables and diagrams that are in other copies are missing. Bound with Wilkins’ An alphabetical dictionary, wherin all English Words According to their various significations, are either referred to their Places in the Philosophical Tables, Or explained by such words as are in those tables. The second work functions as an index to the first.

University of Utah copy bound in contemporary paneled calf with covers ruled in blind.

“From what hath been said it may appear, that the measure and capacity of the Ark, which some Atheistical irreligious men make use of, as an argument against the Scripture, ought rather to be esteemed a most rational confirmation of the truth and divine authority of it. Especially if it be well considered, that in those first and ruder ages of the World… men were less versed in Arts and Philosophy, and therefore probably more obnoxious to vulgar prejudices than now they are… — John Wilkins

Book of the Week — Cilantro, sage, rosemary and thyme

10 Monday Apr 2017

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Africa, America, Asia, barrister, C. J. Phipps, California, Capul, Cavendish, Columbian Encounter, Comte de Buffon, Daines Barrington, Don Francisco Antonio Mourelle, English, Europe, French, Georges-Louis Leclerc, Greenland, Labrador, London, Lord Mulgrave, Magna Carta, Manilla, Mozart, natural history, naturalist, New Guinea, New World, Nichols, potatotes, Schouten, science, Spanish, tobacco, Turkey, Wales, White

“What we saw of the country leaves us no doubt of its fertility, and that it is capable of producing all the plants of Europe. In most of the gullies of the hills there are rills of clear and cool water, the sides of which are covered with herbs (as in the meadows of Europe) of both agreeable verdure and smell. Amongst these were Castilian roses, smallage, lilies, plantain, thistles, camomile, and many others. We likewise found strawberries, rasberries, blackberries, sweet onions, and potatoes, all which grew in considerable abundance, and particularly near the rills. Amongst other plants we observed one which much resembled percely (though not in its smell), which the Indians bruised and eat, after mixing it with onions.”
— Daines Barrington translating Don Francisco Antonio Mourelle’s Journal of a Voyage, in 1775, to Explore the Coast of America, northward of California

Miscellanies
Daines Barrington (1727-1800)
London: Printed by J. Nichols, sold by B. White, 1781
First edition
AC7 B34 1781

Daines Barrington was an English barrister and naturalist. After filling various posts, he was appointed a judge in 1757, in Wales. He was noted for his observations on the Statutes, chiefly the more ancient, from Magna Carta to 21st James I (1766). Many of Barrington’s writings were published by the Royal and Antiquarian Societies, of which he was a member. Some of these papers were collected by Barrington in this volume.

Miscellanies contains the first publication of Don Francisco Antonio Mourelle’s Journal of a Voyage, in 1775, to Explore the Coast of America, Northward of California… translated from a Spanish manuscript. This is the only contemporary source in English of the voyage exploring the northwest coast of America.

Also in this volume is “The Probability of Reaching the North Pole” (1775), a tract reporting on the results of the northern voyage of discovery undertaken by Captain C. J. Phipps, who later became Lord Mulgrave. The report discussed the floating ice found in high northern and southern latitudes. For this and other reasons, it was especially helpful to whaling captains who frequented the coasts of Greenland and Labrador.

Included in Miscellanies is a biography of Mozart, various essays on natural history, and a discussion on whether the turkey was known in Europe before the Columbian Encounter. Barrington concluded that it was, as were tobacco and potatoes, contradicting the great French naturalist and encyclopedist Georges-Louis Leclerc, Comte de Buffon (1707-1788).

“If M. de Buffon had not thus excluded Asia and Africa, the controversy would have turned out, as if the point to be discussed was, whether tobacco and potatoes were not peculiar to the New World. Now it is certan that both these plants are of American growth, but not exclusively so, for in 1584, Cavendish received potatoes from the inhabitants of Capul, which is an island not far from Manilla; and in 1616, Schouten was supplied with tobacco from the coast of New Guiney.”

Science was and is as political as war — England was at war with France during this time. And it never occurred to either de Buffon or Barrington that indigenous peoples might have crossed oceans long before the Europeans did.

“The Books Opened My Eyes to New Possibilities:” A Visit From Utah State University Students

31 Friday Mar 2017

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accordion format, al-Mutanabbi Street, Anagram Press, Baghdad, Berkeley, book arts, Book Arts Guild, Book Arts Program Studio, bookseller, Cal Ling, calico, Chandler O'Leary, Christina Kemp, collage, Connecticut, consitiution, copper, Denisse Gackstetter, Diano Bertolo, Fingin Furi, Flying Fish Press, Gampi Smooth, Giovanni Forlino, glass negatives, Granary Books, handmade paper, Heather Weston, Hermetic Press, High Falls, Iraq, Japanese, Jessica Spring, Jim Machacek, John Yau, Julie Chen, Katsushika Hokusai, Kincami, Kristen Reyes, Kyoto, letterpress, Lieutenant Colonel Jonathon Rhea, Logan, London, Marriott Library, Matt Jones, Mauree Cummins, Max Gimblett, Mount Fuji, Mt. Rainier, New York, non-adhesive binding, Philip Galo, Philippine Banana Bark, photographs, photography, rare books, Revolutionary War, Rumi, Sarah Christianson, schizophrenia, Sibyl Rubottom, spiral bound, Springtide Press, Steve Clay, strait jacket, stratovolcano, Sunomi, Susan Mills, Tacobet, Tacoma, Tacoma Artists Initiative Program, Tacoma Arts Commission, Tahoma, Tairei, Tamashiki, Tao Te Ching, triptych, typography, United States, University of Puget Sound Collins Memorial Library, Utah State University, Washington, watercolor, Weir Farm, Wilton, woodblock prints, wrapper, Yuzen

“It was nice being able to get lost in someone’s work and to look at books in a way that I never have before. Being able to actually hold and handle the books teaches us many things. ”

Early in the cold, wet month of February, students from Utah State University made the perilous journey from Logan to the Marriott Library to visit Rare Books. Professor Denisse Gackstetter brought her Introduction to Book Arts class for a tour of the Book Arts Program Studio, after which the students spent two hours looking at forty of our books.

Prof. Gackstetter asked her student’s to respond to their visit. Here is some of what they saw and what they had to say about it.

THE BOOK OF THE ANONYMOUS
John Yau (b. 1950) and Max Gimblett (b. 1935)
New York: Granary Books, 2012
PS3575 A9 B66 2012

John Yau wrote this poem in 2009 in response to several translations of the “Tao Te Ching” given to him by Max Gimblett. In response to Yau’s manuscript, Gimblett created a series of more than one hundred drawings and collages incorporating rare and unusual handmade papers from around the world. This publication contains the twenty-four part poem and twelve of the illustrations. An original ink drawing by Gimblett in black ink on silver is on the cover of each copy. Produced by Diane Bertolo, Steve Clay [founder and owner of Granary Press] and Susan Mills. Typography is by Steve Clay, the binding by Susan Mills. Philip Galo letterpress printed the text and images on double leaves at the Hermetic Press. The collages incorporate gold-leaf, photography, photocopy and drawing. The collages were made at Max Gimblett’s studio with assistance from Matt Jones, Giovanni Forlino and Kristen Reyes. The papers used include Kincami black, Cal Ling autumn, Tamashiki orange, Kingin Furi tan, Sunomi silver, Sunomi kraft, Yuzen cream, Kyoto M25 white, Tairei #1 white, Philippine Banana Bark alabaster and Gampi Smooth 43. Bound in black board covers, open spine with exposed stitching, a non-adhesive binding. Folded and coupled, the pages are gathered together and sewn to cloth-backed boards. Housed in handmade silver cloth-covered clamshell box with spine label. Edition of thirty-three copies, signed by the poet and the artist.

“The Book of the Anonymous by John Yau made the greatest impression upon me. I remember specifically pondering how the images or lack thereof contributed to the concept. I was intrigued by the questions Yau asked the reader, and I was inspired to read more into them by the beautiful pages and illustrations. The form made me want to understand the content.”

“The paper has lots of fiber and shimmer in it. One of the pages has string in the paper. The contrast in texture is very dramatic.”

“I can’t remember the imagery or the poem in that book because the handmade papers are so beautiful I could not stop looking at them. The pages were assembled in an interesting way where the two sheets of paper would sort of pocket-fold into each other. This gave the pages a very thick and substantial feel when turning them.”

BINDING ANALYSIS: DOUBLE BIND
Heather Weston
London: Heather Weston, 2000
N7433.4 W467 B56 2000

Author and artist Heather Weston holds a degree in Book Arts and works in the mental health profession. She uses the book form to explore both emotional experience and psychological structure. In this context she explores the inextricable link between form and content. Here, book structure says something about the experience of schizophrenia that text alone could not. The book is double spiral bound at right and left edges with the pages splitting down the center. Four separate narratives – one pictorial, two textual, and one structural – unravel concurrently. A calico wrapper, with a padded but rigid back panel gives the floppy book the firm containment of a strait jacket.

“I thoroughly enjoyed Binding Analysis: Double Bind by Heather Weston. Weston uses French doors to present an analysis of a schizophrenia patient through the recordings of a medical care provider. I only became aware of the patient’s recorded words, on the backside of the structure, midway through the book. The form informed me about the concept.”

GHOST DIARY
Maureen Cummins
High Falls, NY: M. Cummins, 2003
N7433.4 C853 G46 2003

From the colophon: “…[B]ased on a handwritten letter discovered by the artist in the archive of Weir Farm in Wilton, Connecticut, during a residency in the spring of 2001. The letter was written in 1807 by a former Revolutionary War officer, Lieutenant Colonel Jonathon Rhea, to his children on the anniversary of his wife’s death. The [5] images that accompany the text are original vintage glass negatives that date from the late nineteenth and early twentieth centuries.” Glass panels hinged in accordion format. Issued in collapsible black box with a tie string. Edition of twenty-five copies. University of Utah copy is lettered and signed by the artist.

“It uses a simple accordion structure, but utilizes it in an inventive way. The panels are see-through which coincides with its subject matter. A wonderful example of form and content informing each other.”

LOCAL CONDITIONS: ONE HUNDRED VIEWS OF MT.…
Chandler O’Leary
Tacoma, WA: Anagram Press, 2012?

From the colophon: “Illustrated, designed, printed and bound by Chandler O’Leary, through freak snowstorms, record heat, and a thousand gentle rains in Tacoma, Washington. Each of the book’s 120 image flats is illustrated and compiled from sketches, photographs and data collected in person, on location, from September 2008 to October 2010. All text and images were letterpress printed in Hokusai’s indigo ink, down the street at Springtide Press. Images and topographic map patterns are hand-drawn and water-colored. For making it possible to turn this crazy idea into an even crazier reality, many heartfelt thanks to [the Tailor*], Jessica Spring, [Zooey*], Sarah Christianson, the Tacoma Arts Commission, the University of Puget Sound Collins Memorial Library, and the Book Arts Guild. Thanks also to the weather, for always, despite a notorious reputation, seeming to hold just long enough for me to grab the camera and jump in the car. Produced with the support of a Tacoma Artists Initiative Program grant from the City of Tacoma Arts Commission…Japanese artist Katsushika Hokusai (1759-1849) is perhaps best known for his seminal works, Thirty-Six Views of Mount Fuji and One Hundred Views of Mt. Fuji. The two series of woodblock prints, published from 1829 to circa 1847, depict the sacred peak within the context of landscapes and scenes of daily life. At the heart of the series is Hokusai’s own obsession with immortality, and his fascination with Fuji’s eternal presence. Therein lies the rub: Fuji is anything but eternal. Beyond the usual, abstract geologic transience of eroding rock and drifting continents, Fuji is an active stratovolcano. Its days – and those of the lives and lands at its base – are numbered. Here in Washington state, just forty miles southeast of my home, lies Fuji’s taller, more volatile, American twin. Variously named Tacobet, Tahoma, and Ti’Swaq’, amont others, by the region’s indigenous peoples, or simply “The Mountain” by contemporary locals – its most arbitrary…”

“What left the greatest impression on me was the box with different scenic areas layered upon one another. It made me want to go home and create one of my own. The intricate images mixed with the soft pastels are gorgeous. I think it is interesting that the viewer is able to arrange the book how they please. The book is really their own story to tell.”

“This book intrigued me. It is so different from a normal book, and so unconventional, it inspired me to think more outside the box.”

“I like the three-dimensional aspect.”

“This book has three drawers to pull out and a ton of different different pieces of scenery. I love how I could mix and match the different scenes. There were so many possibilities to create. I liked the facts that I learned about Mt. Rainier, as well. I could have read and played with this book for hours.”

MEMENTO
Julie Chen
Berkeley, CA: Flying Fish Press, 2012
N7433.4 C44 M46 2012

From the colophon: “The text that appears on the woven token in triptych was taken from the preambles to the constitutions of the United States and Iraq. The image that surrounds the token is of a bookseller’s stall on Al-Mutanabbi Street in Baghdad prior to the bombing in 2007, and is used by permission of the Al-Mutanabbi Street coalition.” Letterpress printed. Designed by Julie Chen. Copper locket fabricated by Christina Kemp, based on a design by Julie Chen. Edition of fifty copies. University of Utah copy is no. 43, signed by the artist.

“Blew my mind.”

NEW RULE: A POEM BY RUMI
Sibyl Rubottom and Jim Machacek
San Diego, CA: Bay Park Press, 2000
N7433.4 R73 N49 2000

A flecked, navy wrapper is folded in three, housing the primary sheet which is, in turn, folded into three, unequal sections. Letterpress from Bodoni and Times Roman on Fabriano Rosaspina Bianco and Fox River Confetti wrapper. Images created using polymer plates, monotypes, linocut, and screen printing. Edition of forty-five copies. University of Utah copy is no. 19.

“Looking at New Rule helped my own making for my next project. It is a good example of a poem in a book, without lots of pages, but with a creative structure. I like how it hides the colophon inside the back cover by folding inward.”

CONVERSION: (A CONVERSATION TOLD IN SYMBOLS)
Macy Chadwick
Portland, OR: In Cahoots Press, 2013
N7433.4 C414 C66 2013

A sequential, narrative story with abstract imagery and no text, a conversation using only symbols. From the artist’s website: “…a two-person conversation using a vocabulary of stencils and hand-drawn symbols shown in a key. What is said and what is thought, works spoken in a jumble without stopping, a rational response and an activated imagination are all carefully plotted and diagrammed. Two different communication styles clash, merge, and ultimately influence each other as one person finally speaks her mind.” Mulberry paper, Micron pens, book cloth, pochoir. Edition of five copies.

“This book was assembled very simply, hand drawn on a single sheet of mulberry paper and folded into a book with a thin book cloth cover. What really pulled me into this one was the concept behind it. The artist took the words out of a conversation and replaced them with symbols to show the structure of a conversation. It made me see that as an artist we don’t have to ‘write the story’ our viewers see, we can create a scaffolding of an idea that gets filled in with what the viewer has already experienced. It was very powerful. The book is a great vessel for this concept because it is such a personal experience turning the pages, touching the conversation with my own fingers. I learned a lot from that small book and from this whole experience.”

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Photographs of books by Scott Beadles.
Photographs of readers by Dennise Gackstetter. Thanks, Dennise!

On Jon’s Desk: The Generall Historie of the Turkes, a beautiful book linking the past and the present

29 Wednesday Mar 2017

Posted by Jonathan Bingham in On Jon's Desk

≈ Comments Off on On Jon’s Desk: The Generall Historie of the Turkes, a beautiful book linking the past and the present

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Adam Islip, Benjamin Heywood Bright, Christian, Constantinople, European, Harold Greenhill, Jean Jacque Boissard, Jon Bingham, Laurence Johnson, London, Lord Byron, Middle East, Muslim, Ottoman Empire, Richard Knolles, Samuel Johnson, Scott Beadles, The Generall Historie of the Turkes, Vitae et Icons Sultanorum, William Shakespeare

photograph by Scott Beadles

“What small assurance there is in mens affaires, and how subject unto change even those things are wherein we for the most part repose our greatest felicitie and blisse, (beside that the whole course of mans fraile life, by many notable examples well declareth) nothing doth more plainely manifest the same, than the heavie events and wofull destructions of the greatest kingdomes and empires: which founded upon great fortunes, increased with perpetuall successe, exalted by exceeding power, established with most puissant armies, wholesome lawes, and deepe counsel; have yet grown old, and in time come to naught.”

– Richard Knolles, The Generall Historie of the Turkes

Title: The Generall Historie of the Turkes, from The first beginning of that Nation to the rising of the Ottoman Familie: with all the notable expeditions of the Christian Princes against them

Author: Richard Knolles

Printed: London, by Adam Islip, 1603

First Edition

Call Number: DR439 K74 1603

There are so many books in the world. They come in all shapes and sizes. Some people like bright, new books. Others like old, worn books. As much as I would like to say that I love all books I have to confess that books with a little experience draw me in more. They feel tried and tested to me. The best books in my book are those with at least a couple of centuries behind them. With that in mind you will understand the enchantment I have found myself under recently with a most wonderfully old book. It is a marvelous specimen from the early 17^th century.

Printed in London by Adam Islip (d. 1639), this book was bound in brown calf leather, which must have been rich and sensual to the touch earlier in its life. The book now wears this leather like armor that has seen some tough days on the battlefield. Somehow, despite the cracks where the boards meet the spine, it is still elegant. Although the slightly decaying leather may leave a minor brown smudge on an unsuspecting viewer’s shirt, the outer accoutrements remain steadfast in their dual missions of beauty and protection. The front and rear covers offer to the viewer a framed pattern blind-stamped into the leather.

photograph by Scott Beadles

Along the spine large raised bands fit perfectly in the hand, but more importantly, these bands are the anchors for a hand-sewn binding that has lasted for centuries. Lifting the front cover, the board is heavy; not just a little heavy, but seriously heavy. Lifting the front board is like lifting a draw bridge. It is a reminder that this cover protects something worth protecting and warns the reader not to pass lightly.

The book itself is also heavy. Consisting of 1,152 pages, this book was not meant for fanciful entertainment while traveling. At approximately twenty-three centimeters wide, thirty-two tall, and eight deep, its size confirms that this book is profound and consequential. The reader opens to the title page and finds there an elaborate copper-plate engraving, drawing him in. We have Laurence Johnson (“Sculpsit,” Latin for “he engraved, carved, or sculpted it”) to thank for this image, wherein we see noblemen, one on each side of the page. On the left stands a European and on the right an Ottoman Turk. The beauty of this page makes the reader want to linger, but it is quickly observed that the font on the subsequent pages is delightful and there are many more engravings to examine throughout the book.

As the reader opens this book the smell of it cascades gently over him or her. It is not an unpleasant smell, despite the book’s age. Rather, it is a wonderful smell. It is the smell of leather and paper that have soaked in their surroundings for four hundred years. This book has a clean mustiness that tells the story of owners who have lovingly cared for it through the long years since its printing.

The University of Utah’s copy was part of the Benjamin Heywood Bright library, which was auctioned by Sotheby’s in 1845. Bright, who became a well-known antiquarian and authority on Shakespeare, began collecting around 1809. Sometime in the 19^th century, the copy became the property of Harold Greenhill, as evidenced by his bookplate.

Just as the physical features of this book indicate, the subject matter is a weighty one. Written by Richard Knolles in the last decade of the 16^th century, The Generall Historie of the Turkes is recognized as a major historical treatise. Written in English rather than the more scholarly and academically accepted Latin, the treatise consists of a compendium of accounts by historians in the 14^th through 16^th centuries. Like most European historians of the day, Knolles relied on earlier European works for his information and much of his viewpoint. He relied most heavily on Jean Jacques Boissard’s Vitae et icons sultanorum (1596), from which were copied twenty-eight engraved portraits of Turkish sultans, their wives, and European kings.

Knolles strongly edited the accounts, however, which resulted in the reader fully experiencing a propagandist diatribe throughout. The fact that Knolles chose to publish the work in English rather than Latin is noteworthy. It suggests the intent to reach a large audience and to sway public opinion. Due to the work’s role as a propaganda device it was important for common people to be able to understand it. The treatise was indeed influential. Later writers, such as Samuel Johnson and Lord Byron, read and commented on Knolles’ work. It is also widely accepted that The Generall Historie of the Turkes influenced Shakespeare’s writing.

Knolles’ Generall Historie was certainly a success, running through new editions seven times between 1603 and 1701, most with varying additions and abridgements. The first edition probably consisted of between 1250 and 1500 copies, the maximum number of copies allowed by a 1587 regulation.

The text itself, twelve years in the writing, demonstrates British animosity towards Islam. For example, author Richard Knolles refers to Muslims as “slothing and effeminate.” Knolles wrote this work to acquaint English Christians with an enemy. His demonization of the Turks made this hostility a religious struggle as much as a struggle for world position and power. During the 16th century, more works regarding the Ottoman Turks were written than on the “New World.”

History repeats itself. However, each generation, I would hazard to generalize, feels as if it is forging ahead into uncharted territory. If a person (a pesky historian or even a curator of rare books) were to point out a historical example which perhaps might support an argument regarding the nature of history and its cycles, others may be quick to point to all the ways in which current events differ from those contained in the historical example. The Generall Historie of the Turkes is a marvelous portal which allows us to view how many of the modern western world’s most difficult issues were being treated at the turn of the 17^th century.

In 1453 Constantinople, the capital city and last hold-out of the Eastern Roman Empire, fell to the Ottoman Empire. To put it mildly, this did not please the western Europeans. To turn this into an almost unforgivably simple tale, the Westerners (predominantly Christian) traveled to the Near East (what we now often refer to as the Middle East) and began to carve out little kingdoms for themselves. Religion played an important role in the impetus for these actions. Some may claim that today the impetus is oil, but religion or oil makes not a lot of difference in the grand scheme of things. The bottom line is, westerners (Europeans) showed up in the Near East and started telling the local people how things would run. Naturally, this (then as it is now) was hard for the local people to accept, so they pushed back. In the 15^th century they pushed back right into Europe. In the 21^st century it is no different. These two cultures have clashed repeatedly over centuries, and so it is that a four hundred year old book acts as a portal that looks suspiciously like a mirror.

I love that the physical attributes and the subject matter of this book are so at odds. This finely crafted, beautiful book is the physical medium of an aggressive topic. History is anything but pretty, yet the books (at least in this case) containing it can be. Perhaps that is not without intention. It just goes to show, you can’t judge a book by its cover.

~ Contributed by Jon Bingham, Rare Books Curator

OPEN BOOK

~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

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