Special Collections’ summer exhibition, In the Footprints of the First German Printers: 1450-1500, retraces the expansion of printing in Europe. The exhibit follows the German pioneers who initiated and spread the art of bookprinting and developed a tradition that transformed the world of learning.
All but one of the books featured were donated by Helen and Arthur Tasheira, Californian benefactors of Middlebury who summered in Vermont. In 1946, they generously gifted forty-three printed books from the infancy of print, primarily from Italy and Germany. (The other book on display was a gift of Middlebury alumna Ruth Hesselgrave, class of 1918.)
Each book contains the history of the early evolution of printing. By studying the materials of the covers, pages, inks, the page layout implemented, the hand-painted additions to the printed text, we learn about how the first printers’ processes developed and how readers’ interpretation of texts evolved. (And that’s without even reading them!)
In the Footprints of the First German Printers: 1450-1500 was curated by Marie Théberge (P ’10) and designed by Mikaela Taylor (’15) with additional support by Danielle Rougeau and Rebekah Irwin. It will be on display in Davis Family Library atrium (main level) and Harman Periodicals Reading Area (lower level) from June 14th through September 30th.
Join us Thursday, December 14th at 4:00pm in the Davis Family Library Atrium for a reception to honor and enjoy the current Special Collections exhibition, Holiday Greetings from Robert Frost and the Spiral Press, curated by College Archivist Danielle Rougeau.
Light refreshments will be served.
On display for the first time since 1961, when Corinne Tennyson Davids donated the Wales Hawkins Memorial Collection of Frostiana to Middlebury, Robert Frost’s complete set of 28 holiday cards tell the story of an artistic collaboration spanning more than three decades. Robert Frost and the Spiral Press created holiday greeting cards of the highest craftsmanship and design from 1929 until 1962. Works of art in themselves, the cards also stand as true first editions of the chosen poems. Frost became a true champion of fine letterpress, and commented that “the Spiral’s typography and printing found things to say to my poetry that hadn’t been said before.”
The Bread Loaf School of English students in Gwyneth Lewis’s Poetry Detective Workshop visited Special Collections on July 26th to study manuscript and printed poetry of several important American poets. Expecting to, as the course description delineates, “use the tools of the sleuth to gain entry into the poetic mind behind individual poems,” the students instead gave the course title a literal meaning when they discovered an exciting and curious paradox…
Manuscripts (along with a couple of manuscript facsimiles) and printed editions of American poetry by Robert Frost, Walt Whitman, Langston, Hughes, Julia Dorr, Anne Sexton, and Emily Dickinson were arranged on tables to show the journey from the poet’s mind to the printed page.
For Emily Dickinson in particular, this transformation warrants investigation. Often described as a recluse, Dickinson was very private with her poetry and altogether averse to having her poems published. Despite spending much time at home in Amherst, Massachusetts, Dickinson was not intellectually or emotionally cloistered. She disseminated her poetry among her friends, sharing her poems in letters, constantly updating and rewriting her poems before collating and binding them in her fascicle booklets – her alternative to publishing them.
After her death, her friends and family set out to publish her works so that her genius might be known to the world. However, determining which variation of her many works best reflected her authorial intent proved a challenge. Dickinson’s first publishers, sister-in-law Susan Dickinson and mentor Thomas Wentworth Higginson, unbound her fascicle booklets and mixed them with the other drafts of her poems in the editing and publishing process. For decades, editions of Dickinson’s poetry hit the shelves with varying structure, both in the poems’ organization in the edition and in poetic structure: editors took liberties naming her poems (Dickinson herself only titled nine), updating her punctuation, and ordering them based on perceived theme or assumed chronology (she did not date her poems).
Because Dickinson did not publish her own poems, her manuscripts are paramount in understanding her works. And because she produced so many drafts without a clear final version, comparing the written copies of her poems is the best way to determine her intended meaning. The first to do so was Thomas H. Johnson, who published the first single edition containing all of Dickinson’s poems in 1955. Working from the original manuscripts rather than the dozen published editions of Dickinson’s poems, Johnson described the manuscripts he consulted to provide a more complete view of the poet’s process.
This very edition, the 1955 Johnson variorum, was open next to a manuscript poem for the Bread Loaf “Poetry Detective” students to study.
In their investigation, the students turned to the entry which corresponds with the manuscript in question (pictured above) to read Johnson’s description and made a startling discovery. The handwritten poem before them matched a copy that Johnson wrote, “has not been located,” written “on stationery watermarked ‘A. Pirie & Sons 1862.’” They lifted the poem to the light, revealing the very watermark described on the unlocated copy. Was the world unaware that Middlebury held this literary treasure? Could these poetry detectives have solved the case of the missing manuscript?
Upon further research, we found that the location of the poem had been discovered at some point after Johnson’s 1955 publication (a second edition in 1979 has the same information) and before another popular edition of Dickinson’s poems by Ralph Franklin in 1998. At some point between these two publications, the manuscript’s location was identified as Middlebury College’s Abernethy Collection. Franklin describes the custodial history of the manuscript, unknown to Johnson in 1955: This “fair copy in ink, unsigned and unaddressed, is at Middlebury College” (Franklin). He goes on to identify the poem as likely belonging to Dickinson’s mentor, T.W. Higginson, as the copy in his possession also contained the phrasing “known to the knoll.” In the first published edition, editors chose the variation “known by the knoll.” Franklin writes, “Higginson gave his manuscript to Mildred Howells, daughter of William Dean Howells, [and] it was subsequently sold. Purchased in 1938 from the American Autograph Shop, the Middlebury manuscript, which reads “to” in line 6, appears to be the one sent to Higginson” (Ibid).
We corroborated this history by checking the library records kept by Middlebury curator Viola White, and indeed, she lists the purchase of Emily Dickinson manuscripts for $135 from the American Autograph Shop on February 25, 1938 (line 49).
Although the Poetry Detectives students’ discovery was not entirely new, it served as an exciting and important learning experience, which we hope it will lead to more interest in this manuscript and its inclusion in Harvard’s digital archive of Dickinson’s manuscripts. For more information about our Emily Dickinson manuscript and other little-known manuscripts in our collection, visit go/aspace.
“About Emily Dickinson Archive.” Accessed September 22, 2017. http://www.edickinson.org/faq.
Dickinson, Emily, and R. W. Franklin. The Poems of Emily Dickinson. Variorum ed. Cambridge, Mass: Belknap Press of Harvard University Press, 1998.
Dickinson, Emily, and Thomas Herbert Johnson. Poems: Including Variant Readings Critically Compared with All Known Manuscripts. Cambridge: Belknap Press of Harvard University Press, 1955.
Eberwein, J. D. “Corrective Vision: Franklin’s Dickinson Variorum.” Resources for American Literary Study, vol. 26 no. 2, 2000, pp. 260-267. Project MUSE, doi:10.1353/rals.2000.0021
“I’m Nobody! Who Are You? The Life and Poetry of Emily Dickinson.” The Morgan Library & Museum, April 15, 2016. http://www.themorgan.org/exhibitions/emily-dickinson.
“The Manuscripts | Emily Dickinson Museum.” Accessed September 22, 2017. https://www.emilydickinsonmuseum.org/emily_manuscripts.
“Manuscript View for Amherst – Amherst Manuscript # 329 – Pink – Small – and Punctual – asc:11465 – P. 1.” Accessed September 22, 2017. http://www.edickinson.org/editions/3/image_sets/95203.
“The Posthumous Discovery of Dickinson’s Poems | Emily Dickinson Museum.” Accessed September 22, 2017. https://www.emilydickinsonmuseum.org/posthumous_publication.
This post should come as no surprise to our Stacks & Tracks listeners, as our theme for the first episode of the semester was our newly acquired peep shows!
Peep shows burst onto the European scene in the early 19th century with Austrian printer Heinrich Friedrich Müller’s first “Teleorama” in 1825. These tunnel viewers became immensely popular in Germany, Austria, France, and England, and we are now the proud custodians of examples from the latter two countries.
The first, “A view of the tunnel under the Thames as it will appear when completed,” depicts a projected view of the first tunnel under a river ever constructed. This peep show offered a glimpse into the future as it was printed in 1829, and the tunnel was not completed and opened to the public until 1843.
The accordion structures unfold to display perspective views to captivate and entertain audiences.
The second, a French peep show from around 1836 with the Les Tuileries Palace on the front features three viewing options.
Through the center square we see pedestrians, carriages, and equestrians on the streets of Paris, with monuments and churches, fountains and buildings, representing the best of the city.
The left and right cutouts complete the picture with views of gardens.
If you missed today’s show, be sure to listen to WRMC Wednesdays from noon to 1pm. And come peep these peep shows yourself in our reading room from 1-5 Monday through Friday.
Today in Special Collections, our oldest text faced the library’s newest technology.
Our cuneiform tablet, a beer token from 2,000 BCE, took a new form when DLA postdoctoral fellow Kristy Golubiewski-Davis captured it in a 3D scan.
To see 3D scanning in action – along with the tablet and other important Special Collections objects – come to Davis Family Library this Friday! Kristy will by demonstrating 3D scanning in the library atrium from 10am-2pm, and Special Collections will host our annual Fall Family Weekend Open House from 1pm-4pm.
And stay tuned for a 3D printout made from the scan coming soon, a plastic facsimile students and researchers can inspect in their own hands!
In honor of the Vermont primary on August 9th, we remember that every vote counts – even in a small town.
The tiny Vermont town of Somerset (which still exists!) could not be silenced despite losing 50% of their voting population in 1924. In one fell swoop, the town clerk, treasurer, tax collector, constable, and school director departed, leaving the other two legal voters the only residents eligible to cast their ballots.
Though the town currently boasts a similarly small population, we hope they, and all voting Vermonters, make it to the polls tomorrow!
Currently populating the glass cases of Davis Family Library are Margaret Armstrong book covers and historic postcards. Don’t miss the chance to see them before heading out for the summer!
As part of American Studies professor Ellery Foutch’s AMST 101 course, American Holidays, students researched holiday postcards from our collection, exploring how symbols and themes reflect the cultural mores of turn-of-the-century American life.
The postcards they studied and their comments are on display in the library atrium.
To compliment this exhibit, college archivist Danielle Rougeau curated and designed an exhibit featuring postcards and scrapbooks from the archives. The postcards capture Middlebury College’s landscape and characters as well as the role of postcard correspondence through history.
Rounding out our summer exhibits is a tribute to Margaret Armstrong, curated by Joseph Watson and designed by Danielle Rougeau. Margaret Armstrong (1867-1944), one of the most accomplished book cover designers of the early twentieth century, produced cover art and illustrations for over 270 books.
Come to Special Collections to see a selection of her cover designs and learn more about her life!
Join us this Thursday February 18th to celebrate the 400th anniversary of Shakespeare’s death and the First Folio! exhibit at the Middlebury Museum of Art.
Starting at 4:30pm in the Center for the Arts lobby, there will be musical and theatrical performances, guided tours of the exhibit with professors of English and American Literature Timothy Billings and James Berg, children’s activities with Page One Literacy, and sweet and savory Renaissance refreshments.
This February, one of the most important books in the history of English literature is coming to Middlebury. This year marks the 400th anniversary of Shakespeare’s death, and to honor the centuries of the bard’s influence, the Folger Shakespeare Library is sponsoring a national tour of their collection of First Folios.
Considered one of the most influential books in the world, the First Folio includes 36 Shakespeare plays, 18 of which had never been printed before the First Folio in 1623. Without the First Folio, all of those plays – including Macbeth, Julius Caesar, Twelfth Night, The Tempest, As You Like It, and more – might have been lost forever.
From February 2-28, Middlebury College will serve as the Vermont site of the national tour, displaying the First Folio at the Middlebury Museum of Art.
To kick off this month of celebration, James Shapiro, Columbia University professor and renowned Shakespeare scholar, will give a lecture on Shakespeare’s role in American history on Wednesday February 3rd at 7:00pm in the Concert Hall.
Visit go/shakespeare for more information about events throughout the month of February, including a First Folio Festival on Thursday February 18th at 4:30pm in the Center for the Arts Lobby.
Leading up to the inauguration of Laurie L. Patton as the seventeenth president on Sunday, October 11, 2015, Special Collections & Archives will feature remarkable women from the College’s history in eight temporary exhibits spread across campus. Viola Chittenden White can be found in her old haunts of The Axinn Center at Starr Library and BiCentennial Hall, now through October 5th.
From 1933 to 1957 at Middlebury College, Viola Chittenden White built one of the most outstanding collections of American literature in the country as Abernethy Curator. The first woman to be honored as a Yale Younger Poet (for Horizons in 1921), and the first scholar to produce a doctoral dissertation on Herman Melville (1934), Dr. White acquired in 1939 what is still the single most valuable book—and one of the most valuable items—owned by Middlebury: Henry David Thoreau’s personal copy of Walden with his hand-written notes. In 1940 she published Not Faster Than a Walk, a yearlong diary of nature writing and observations of Middlebury and its nearby landscapes.