Showing posts with label SarahGriffin. Show all posts
Showing posts with label SarahGriffin. Show all posts

Friday, 3 November 2017

‘Rare Secrets Brought to Light’ : Highlights from the Milnes Walker Medical Collection

A project is currently underway to enhance the online catalogue records for the University of York’s Milnes Walker collection, adding details about the special characteristics of each book, such as handwritten annotations, as well as extra search terms.

The Milnes Walker collection consists of c. 200 fascinating early medical books, mainly from the 17th, 18th, and 19th centuries, many with an association to Wakefield, Yorkshire. As the project cataloguer I have greatly enjoyed the opportunity to take a close look at this collection. Here are a few favourites that I have come across so far:


One of the more important items in the collection is this beautiful early volume of anatomical plates. Bernhard Albinus of Leiden (1697–1770) was a leading eighteenth-century anatomist. For his Tabulae sceleti et musculorum, first published in 1747, Albinus collaborated with the artist Jan Wandelaar to produce a series of highly accurate engravings from life. Many of the engravings are given additional interest with architectural and landscape backgrounds. Two feature a rhinoceros, a result of drawings Wandelaar made in 1741 of a calf named Clara, the first rhinoceros to be exhibited in modern Europe.
Pharmacopoeia Radcliffeana: or, Dr. Radcliff's prescriptions, by John Radcliffe (London: Charles Rivington, 1716)
A pharmacopoeia is a book that lists approved drugs and their uses. This one contains the prescriptions of John Radcliffe (1650–1714), who was born in Wakefield and became a hugely successful society physician, giving his name to the Radcliffe Camera and Hospital at Oxford. Prescriptions were traditionally written in Latin, but these have been translated into English, resulting in some rather intriguing names such as ’The Hysterical Milky Mixture’, for use in fits, and ‘The Appeasing Pills’, for coughs, shown above.
The Compleat Midwife's Practice Enlarged, in the Most Weighty and High Concernments of the Birth of Man . . . with the Addition of Sir Theodore Mayern's Rare Secrets in Midwifry, with the Approbation of Sundry the Most Knowing Professors of Midwifry Now Living .. . A Work so Plain, that the Weakest Capacity May Easily Attain the Knowledge of the Whole Art. (London: Nathaniel Brooke, 1663)
Some detective work was required to identify this book. The title page in the library’s copy, which reads 'Rare Secrets Brought to Light', actually belongs to a section in the middle of the volume. This copy was evidently well used and at some point lost its original title page and many of the original engraved plates. It was then rebound, using this title page as a makeshift. The book is really The Compleat Midwife's Practice, a handbook on midwifery compiled from several sources, including the case notes of the French midwife Louise Bourgeois. The single remaining plate, shown above, depicts the different positions of infants in the womb.
Horti academici Lugduno-Batavi catalogus exhibens plantarum omnium nomina, quibus ab anno M DC LXXXI ad annum MDCLXXXVI hortus fuit instructus ut & plurimarum in eodem cultarum & à nemine hucusqueeditarum descriptiones & icones [Catalogue of the botanical garden of Leiden, showing the names of all the plants by which the garden was built from 1681 to 1686, with descriptions and images of the many plants cultivated in the garden and thus far undescribed], by Paul Hermann (Leiden: Cornelis Boutesteyn, 1687)

The Hortus Botanicus of Leiden, founded in 1587 for the instruction of university medical students, is one of the oldest botanical gardens still in use. This catalogue was prepared by the botanist and traveller Paul Hermann (1646–1695). It contains thousands of entries, many with engraved illustrations, including a number of specimens from the Dutch East Indies, Dutch Cape Colony, and America. The image is the allegorical frontispiece depicting plants being carried into the garden by personifications of the four continents, Asia, Africa, America, and Europe, and presented to Athena and her owl, representing wisdom. This copy has been extensively annotated by an early 18th-century owner who noted down the names of various plants and the dates of their flowering.  Based on the signature ‘ W. Stonestreet’ on the flyleaf, this owner can be identified as the London antiquary and botanist William Stonestreet (1659–1716).
Find out more about the Milnes Walker collection
All these books are on YorSearch (the Library catalogue) and are available for study. Contact Sarah Griffin, our Rare Books Librarian, for more information.
Written & researched by Jessica Lamothe

Tuesday, 31 October 2017

Missals and Martyrs: the Reformation in the Rare Books Collections at the University of York

Today is the 500th anniversary of Martin Luther’s posting of the 95 Theses to the door of the Schloßkirche (“castle church”) in Wittenberg, Germany in 1517. This event is conventionally associated with the beginnings of the religious conflicts and changes known as the Reformation. Luther was challenging the authority of the Pope, and also asking the Catholic Church to respond through reasoned argument. Many millions of words were written on both sides, and the printing press helped make the new ideas and thoughts widely available.

Initially, the official reaction from England was to condemn Luther. Henry VIII wrote the Defence of the seven sacraments, and learned men like Thomas More and Bishop of Rochester, John Fisher, published in support of the Catholic Church. Gradually, attitudes changed and under Edward VI and Elizabeth, Protestantism became the state religion.

Henry VIII. Assertio septem sacramentorum, or an assertion of the seven sacraments against Martin Luther... London, pr., Nath. Thompson, 1688.

In 2016 a display of books from the Rare Books Collection was mounted to support a workshop for AHRC funded project Remembering the Reformation, the starting point for this blog. The books help tell the story of the Reformation in Europe and in England. Many come from the Mirfield collection, a library belonging to the Community of the Resurrection, Anglican monks based in Mirfield, West Yorkshire.
All the items are available for study and can be found on Yorsearch.

Lugd'., per ... Iacobum Sacon. Expe[n]sis ... Anthonij koberger ... Feliciter explicit, 1512.

The common or “Vulgate” version of the Bible in the Middle Ages was translated by Saint Jerome into Latin in the late 4th century. It was the official bible of the Catholic Church used throughout western Europe, including England. This edition was printed in Nuremberg, Germany in 1512. Its title page promotes itself as a learned text: the four Gospels are “revised, corrected and emended with the greatest diligence”, and it includes marginal annotations of textual cross-references. It is folio sized and the hand-coloured woodcuts make it an expensive artefact.

Missale: begins Annus habet. xii. meses. Nurmberge, impressum per Georgium Stuchs de Sultzbach, 1484.

Missals contain the instructions and words necessary for celebrating Mass, the most sacred part of Christian worship in the pre-Reformation church. This example was printed in Nuremberg in 1484, making it one of the earliest printed books in the Rare Books Collection, and some of the pages have illuminated initials. Showing the books continued use, an engraving of the crucifixion printed in the early 17th century has been pasted in opposite the Te igitur, the first prayer that marks the opening of the canon of the Mass.

In medieval England, the most widespread form of the Mass was the Sarum Rite, or Salisbury Use, first developed in the 11th century. This was used throughout the south of England; in the north, the York Use was also common. This edition was printed in Rouen in France for distribution in England during the reign of Mary Tudor when Catholicism became the official religion again in England. After Mary’s death and Elizabeth’s ascension to the throne in 1558, this was reversed.

Confessio odder [sic] Bekantnus des Glaubens erlicher Fursten und Stedte: Uberantwort Keiserlicher Maiestat: zu Augspurg anno 1530. Apologia der Confessio. Gedruckt zu Wittemberg durch Georgen Rhaw, 1531.

The Augsburg Confession contains the chief articles of faith for the Lutheran Church. It was written in an effort to show common ground between the Lutheran and Catholic Church, and presented to Emperor Charles V at the Diet of Augsburg in June 1530. Martin Luther contributed much of the text but was unable to attend the Diet as he was banned from travel. Many of the German states supported the Confession, however the Catholic Church did not, so Philip Melancthon, a close friend of Luther’s, prepared the ‘Apology’, a defence of the Confession and an attempt to deal with the contested points that the Catholic Church had identified. The Confession and Apology are still important documents in the Lutheran Church today.


Dietrich, Viet. Agend Buchlein fur die Pharrherrn auff dem Land. Nurnberg, : durch Johan vom Berg und Ulrich Neuber, 1544.

After the Reformation, German Protestants developed their own forms of worship. The Agend Büchlein is a Lutheran Service Book which includes ceremonies and blessings to help clergy teach and lead their congregation. It was adopted by many German cities and territories. This edition was prepared by Viet Dietrich, an associate of Martin Luther.

Luther, Martin. Colloquia oder Tischreden Doctor Martini Lutheri: so er in vielen Jahren die Zeyt seines Lebens gegen gelehrten Leuthen, auch fremden Gesten und seinen Tischgesellen gefuhret. Franckfurt am Mayn, Peter Schmid und Sigmund Feyerabend, 1569.

Tischreden, or “Tabletalk”, was first published in 1566, and is a collection of Martin Luther’s comments overheard and recorded by his followers. It captures Luther’s most influential ideas, and covers topics such as religious doctrine and the undesirability of whipping children. The titlepage shows Luther in conversation round the dinner table.

Tyndale, William. The newe Testament of our savyoure Jesu Christe, newly and dylygently translated into Englyshe wyth annotacions in the mergent to help the reader to the understandynge of the texte, 1549.

William Tyndale’s New Testament of 1526 was the first full printed translation of the Bible in English. Tyndale wanted all Englishmen to be able to read the word of God in their own language. Early editions were banned in England, and Tyndale was executed as a heretic in 1536. However, changes in the political climate allowed Tyndale’s authorship to be acknowledged in this copy from the reign of Edward VI. It is claimed that the King James Version of the Bible, published in 1611, took more than 80% of its words and phrases directly from this translation.

Fisher, John. Assertationis Lutheranae confutatio, etc. Parisiis, apud Mathurinum du puys, 1545.

Initially Martin Luther’s ideas, as manifested in the 95 theses, were vehemently opposed by the government of Henry VIII in England. John Fisher, Bishop of Rochester, and considered to be the greatest theologian in the country, first published his confutations of Martin Luther in 1523 in an effort to prove Luther’s ideas false. The Bible verse on the title page encourages the reader to reject false prophets. This edition was reprinted in Paris in 1545 at the same time as the opening of the Council of Trent, which initiated the Counter-Reformation, the Catholic reaction to the Protestant ideals. Although Fisher was dead by 1545, the reprinting demonstrates his continuing influence on the Catholic reaction to Reformation ideas.



More, Thomas. The supplycacyon of soulys made by Syr Thomas More knyght councellour to our soverayn lorde the Kynge ... against the supplycacyon of beggars. London, W. Rastell, 1529.

Thomas More, lawyer, humanist and Chancellor to Henry VIII, also opposed Martin Luther and the Protestant Reformation. He wrote this pamphlet as a response to The Supplication of Beggars by Simon Fish that had denied the existence of purgatory. Unlike John Fisher whose confutations were in Latin, More wrote in English enabling him to reach the literate but less educated English audience. After Henry VIII’s divorce and his break from Rome, both Fisher and More were executed in 1535.


Coverdale, Miles. Certain most godly, fruitfull and comfortable letters of such true saintes and holy ... as ... here within this realme, gave their lyves for ... Christes holy gospel etc. London, John Day, 1564.


After the death of her sister Mary I, Elizabeth I reinstituted the Reformation, and became “Supreme Head of the Church in England”. Miles Coverdale, Reformer and Bible translator, collected letters of early supporters of Protestantism in England such as Archbishop of Canterbury Thomas Cranmer, and Bishop of London Nicholas Ridley, who had been burned for heresy under Mary. On the titlepage Coverdale describes them as “saintes”. Another book written about the Protestant martyrs was John Foxe’s Actes and Monuments. An image from Foxe has been pasted into this book to reinforce the message about the holiness of those who gave their lives for the Protestant cause.

Book of Common Prayer, [1575]


The Book of Common Prayer, first published in 1549, laid out the structure and form of Protestant services in English. This copy is bound with a Bible printed by Richard Jugge in 1575.


The Rare Books Collection covers a wide range of topics. For more information check the website: https://www.york.ac.uk/library/collections/rare-books-collection/ 

Monday, 8 May 2017

Documenting the history of York’s asylums

Sarah Griffin, Rare Books Librarian, summarises the resources about the Retreat hospital available in the Library’s collections and Archives.


On Wednesday 10 May, Dr Jane Hamlett from Royal Holloway will be lecturing on Inside the asylum: Material life in lunatic asylums in Victorian and Edwardian England. The history of lunatic asylums is an important one in York and is widely reflected in the collections of the university.

Perspective view of the North front of the Retreat, York.
Watercolour by Peter Atkinson, Borthwick Institute for Archives.
In 2016, Stories of York was published by the university library looking at the narratives found in the collections of the Rare Books, and Archives at the University, and at York Minster Library. One chapter in the book was dedicated to the York Lunatic Asylum scandal and the creation of the Retreat hospital. The chapter was researched and written by Alexandra Medcalf of the Borthwick who also wrote a blog about it.

The Retreat was founded by and for the Society of Friends and opened in 1796 with 12 patients. It attracted attention for the success of pioneering mild methods of treatment of the insane under superintendent George Jepson (1797-1823). In the 20th century the Retreat was known for its willingness to explore new treatments and in pioneering greater professional training for its nurses. The Retreat collection was transferred to the Borthwick Institute for Archives in 2001.

The Rare Books collection at the university looks after the working library of the Retreat founders and staff including William and Samuel Tuke, George Jepson and other medical superintendents. Its strength comes from being one of only a few intact working specialist libraries on insanity. There are around 300 books dating from the 17th to the early 20th century, mostly dealing with psychiatry and mental illness including:
  • Theories of insanity;
  • Institutions;
  • Care of the insane;
  • The brain;
  • Criminal lunacy;
  • Phrenology;
  • Mental hygiene;
  • Mental deficiency; and
  • The controversies at the York Lunatic Asylum.

William Tuke from Samuel Tuke: his life, work
and thoughts
, Tylor C (1900). London: Headley
Other medical collections of interest in the Rare Books include 3000 books from the library of the York Medical Society, and the Milnes Walker Collection which includes books originally collected by provincial medical societies in Wakefield.

A project to digitise the Retreat archives finished at the beginning of this year. More information about the wealth of material now available can be found in #RetreatTweets and a series of posts on the Borthwick blog.

For further information please email Rare Books Librarian sarah.griffin@york.ac.uk.

Monday, 19 December 2016

Telling the Stories of York

Sarah Griffin writes about how we produced a beautiful book featuring some of the treasures of our collections.


This particular story starts when the previous University Librarian, Stephen Town, asked me if I would prepare a short leaflet that would be image heavy and text light, and would be something that could be handed out to visitors and other people interested in the unique and distinctive collections at the University of York and York Minster Library. I worked with Sarah Slinn and Alexandra Medcalf from the Borthwick team, photographer Paul Shields, and designers Karen Smith and Jessica Stephens; we chose a few gorgeous pictures, wrote a few lines and thought we had completed our task. However once Stephen saw the initial idea he knew that we could go bigger and better and produce something much more substantial.

At first the plan was to produce a "Treasures Book", showing the highlights of the collections. It was certainly no hardship selecting stunning and internationally significant items for this. We decided on a telegram from Ghandi, theatre designs for an Alan Ayckbourn play, a hand coloured edition of the first printed atlas, a child's scrapbook from 1819 and many many more diverting and exciting items.

However as we went through the selection process we gradually realised that something else was going on. I know myself that if I go on a visit or a guided tour, it's always the stories that I remember. Sometimes I have no idea of dates or even the context of what I’ve heard, but the stories around an object stay in my mind and encourage me to go and find out more. That is what we decided to try and capture in the book and, from that moment, Stories of York really began to take shape.


York is full of great stories but our starting point obviously had to be the collections at the Borthwick, Special Collections and York Minster Library. There were some easy choices, arsonist Jonathan Martin was an obvious one as the collection is particularly rich down at the Minster, and we also had some fire boxes in the Raymond Burton collection.

York and chocolate cannot be separated and the Terry's and Rowntree's archives at the Borthwick had so much wonderful material that it was a hard job to decide what not to use. Here's a couple of the ones we reluctantly left out! Leaving things out was probably the hardest part, the book is 100 pages long but could easily have been a 1000.


Interestingly there were also things we were determined to include that in the final cut didn't quite fit. We wanted to tell the stories of the Mount School and the York Musical Festivals. There is wonderful material in the Mount archive and in the Raymond Burton Collection but we couldn't pull out that all important story. However we haven't given up so watch this space for a follow up!


Producing the book, discovering more about the stunning collections at the University and York Minster and being able to share some of their stories was a joy for all of us, and I hope that everyone else will get as much pleasure out of the Stories of York.


Interested in reading more? You can buy your copy of our book online or in person:

Friday, 3 June 2016

The battle for Yorkshire hearts...

Sarah Griffin traces the history of the British Civil War, and Charles I's time in York, through items in the Library's Special Collections.



Today, 3 June, is the anniversary of a meeting at Heworth Moor just outside York. It was called by Charles I, for him to meet the people of Yorkshire, and our Special Collections hold some exciting material that helps us tell this story.

Left: Charles I. Right: Charles I in Parliament.
The British Civil War was a conflict that saw brother set against brother and, ultimately, the execution of an anointed king. The disagreement was between Charles, who believed in the divine right of kings and as such did not take kindly to being told he couldn't do things, and Parliament, who were the people telling the king he couldn't do things. The spoof history book '1066 and all that' says it is easy to tell the sides apart as the Royalists were 'Romantic' and the Roundheads were 'Repulsive'. Sadly it's not quite that straightforward and a quick timeline is probably useful.

Firstly Charles decided to rule without Parliament which meant he was also without the funds that they could grant him. He decided to raise money through a variety of means, several of which seemed guaranteed to annoy everyone, such as taxing soap, or redrawing common land boundaries and then fining people for living in the King's forests.

Eventually, after eleven years, the money ran out and he had to recall Parliament. The atmosphere was, understandably, not relaxed, and  tensions cranked up and up. In January 1642, Charles burst into the House of Commons to arrest five Members of Parliament he had accused of treason. They escaped, and the people of London showed their displeasure of the King's actions by rioting in the streets. Charles had overplayed his hand and the capital had become a hostile place for him.


Illustration from a Civil War Tract
So, in March 1642, Charles abandoned London and brought his court to Yorkshire. Travelling with him was the Royal printer, Robert Barker. Barker set up his press in St William's College, in the shadow of York Minster's Great East Window. The King stayed in York for five months from March to August and, isolated as he was from his capital, he needed to stay in touch with his supporters and the rest of the country. He did this through a series of tracts printed by Barker in York. The publications were not objective pieces of work. In much the same ways as politicians today use information, Civil War Tracts were intended to discredit their opponents and to tell one side of the story. The production of the tracts was not high quality, they were quickly produced and rarely illustrated. Any images tended to be poor quality and often did not match the text, for example a broadsheet from the King complaining about the raising of trained bands was illustrated with an image of a man riding a sea monster!

Charles' letter to John Goodricke
Charles needed to drum up support and as well as publishing tracts he wrote letters and addressed his people. One of his letters survives in the Special Collections. It was to John Goodricke, a Yorkshire Member of Parliament, asking him to remain in the city at the King's pleasure. Goodricke stayed loyal to the crown and was eventually captured and imprisoned by Parliament.

In May, Charles called a meeting of the gentry of Yorkshire to come to York Castle. The Freeholders of the City were unhappy to be excluded, so a second gathering happened on 3 June at Heworth Moor. It is claimed that over seventy thousand people attended. What Charles wanted was for those present to pledge their allegiance to him for the coming conflict.

Parliament was unhappy with this state of affairs. Open hostilities had not been declared and they were keen to avoid war if possible. They prepared a petition to deliver to the king requesting him to stop trying to raise an army, and asked Thomas Fairfax, a Yorkshire gentleman, to deliver it. Charles knew that something like this was going to happen, and refused to let Fairfax anywhere near him. Every time Fairfax came close, the King would gallop off in the opposite direction, once almost running Fairfax down. This game of  'tag' finally ended when Fairfax managed to force the petition under the King's saddle. Fairfax wrote a letter to his father, Ferdinando, listing the people who had been at the meeting. This letter also survives in our Special Collections.

Left: Thomas Fairfax. Right: Fairfax's letter to his father.
Charles was disappointed at the response of the Yorkshire gentry who were less keen to pledge allegiance than he had hoped. One eyewitness described the day as a 'confused murmur of noise', not the ringing acclaim that the King was relying on. Charles left York in August and travelled to Nottinghamshire where he raised his standard, and took the first steps on the road to a war that would divide the hearts of the English people, and eventually led him to the scaffold.



All the items in the Special Collections are on the Library catalogue and available for study. For more information please contact Sarah Griffin, Special Collections Librarian.

Monday, 19 October 2015

A new book for Special Collections - the sad tale of Mary, the maid of the inn

Sarah Griffin, Special Collections and York Minster Librarian, introduces the new addition to our unique collection of books printed in York.



Title page of Mary, Maid of the inn
One of the strengths of Special Collections is a wonderful selection of books printed in York. Many of these can be seen in the exhibition currently in the cases in the Harry Fairhurst corridor.

One of York’s best known printers was James Kendrew who had a shop on Colliergate at the beginning of the nineteenth century. He specialised in producing cheap books for children known as Chapbooks. Chapbooks were so called as they were distributed and sold by the Chapman, another name for a travelling salesman.

Kendrew was also responsible for printing books aimed more at the adult audience and last month one of these came up for sale in London. We were lucky enough to be able to buy it for our collection so here’s a first peek at our latest acquisition.


Engraving 
It’s a terribly sad story called Mary, the maid of the inn and is based on a poem written by Robert Southey in 1796. To settle a bet, Mary has to visit an old abbey (reputed to be Kirkstall Abbey in Yorkshire) at the dead of night to bring back a bough from an alder tree that grows there. Horror strikes when she sees her fiancé Richard burying the body of a murdered man. The coloured woodcut engraving shows the moment when Mary hears the men bringing the body into the Abbey. Richard is hanged for the crime and poor Mary goes mad with grief.

This short tale is a great addition to our Kendrew collection and is available for study, as are all the books in Special Collections. For more information please contact Sarah Griffin, Special Collections Librarian.

Friday, 1 May 2015

I shall have to be a feminist…

Sarah Griffin, Special Collections Librarian, introduces a new exhibition

Putting together an exhibition is always a thrilling and often an unexpected pleasure. My starting point for I shall have to be a feminist: 18th century women writers and their legacy in the Special Collections (currently found in the Harry Fairhurst corridor), was Mary Wollstonecraft's Vindication of the rights of woman.  I was excited to find that we had a wide selection of women writers from around the same period and the idea of the exhibition was born.

I knew from the beginning that I would like to find a way to make the final case more up to date. I am strict about using material that can be found in the Special Collections so I expected that final case to be the biggest challenge. The collection does not hold the writings of such current feminists as Germaine Greer or Caitlin Moran, but I was pleased to find some interesting material from the first half of the 20th century which fitted very well with the writing of women some 200 years earlier. What was particularly fascinating was realising that the demands and challenges faced by Wollstonecraft, Elizabeth Montagu, Hannah More and others were really not that much different to those reflected in the writings of Virginia Woolf and Winifred Holtby.

Portrait of Winifred Holtby
held in the Special Collections
The discovery of Winifred Holtby's book was one of the unexpected pleasures. The title of the exhibition is a quote from her and I would like to explore her life and influence in a bit more detail.

"I dislike everything that feminism implies. … I want to be about the work in which my real interests lie … But while … injustice is done and opportunity denied to the great majority of women,I shall have to be a feminist."

Those of you who have seen the recent film Testament of Youth will know that Winifred was the best friend of Vera Brittain. Special Collections holds a published edition of their letters donated to the university by Brittain. The correspondence show both of them to be warm, funny and generous characters.

Winifred Holtby, Women and the changing civilisation,
London 1934. Photo by Paul Shields.
There is one book by Holtby in the Special Collection, Women and the changing civilisation, which can be found in the final case of the present exhibition. Holtby examines the legacy of 18th century writers such as Mary Wollstonecraft and sees that there is still a long way to go towards full equality for women. Holtby campaigned for equal pay and work in the public sphere as well as measures that would give women a degree of financial independence such as widow's pensions, and child benefit allowance. From 1926 she edited the feminist magazine Time and Tide.

She spent time in South Africa and wrote articles against racism and supporting black trade unionism. The thirties were a difficult time for her as she feared the rise of fascism and the attitude of its supporters towards women. She wrote "I want there to be no more wars: I want people to recognise the human claims of negroes and Jews and women and all oppressed and humiliated creatures. I want a sort of bloodless revolution."

Photo by Paul Shields
As well as being an author Holtby was also a poet and the poem that appears pasted into the front of the Women and the changing civilisation is one of hers. It is the third part of a poem written in 1933 and called For the ghost of Elinor Wylie. Holtby had become ill with Bright's disease, a disorder of the kidney which would eventually prove fatal. She died in 1935. The three parts of the poem reflect the progress of her illness, the final Peace, perhaps signifying that she had reached some sort of acceptance.

Poet and novelist Elinor Wylie suffered from a similar illness to Holtby and was admired by her for her lack of conventionality.

Holtby's prose, poems and plays largely remain in print and many can be found in the University Library. The Drama Channel is repeating the mini-series made of her final novel South Riding. Eighty years on, her writings still reflect many of the issues and challenges that continue to face women today.

For more information about this subject or any other questions about Special Collections, please contact Sarah Griffin.

Thursday, 30 October 2014

By the pricking of my thumbs, something wicked this way comes...

Our Rare Books Librarian, Sarah Griffin, introduces you to some of the witches who fly through our collections.

The Wonder book of Fairy Tales by A J Johnson 1903
At Halloween, witches sail on their broomsticks across the night sky and the veil between our world and the underworld becomes thin. Dressing up as a scary witch is the favourite costume choice on 31 October and as we all like to be a bit scared we thought we would uncover some creepy witches lurking in the Rare Books to get us all in the Halloween mood.

World turned upside down 
c 1800 - click on image to enlarge
Saducismus triumphatus, or a full and 
plain evidence concerning witches and apparations
1681
Note: this is a crop from the larger title page - click on image to enlarge
Witches were believed to consort with the devil and they were often attended by their ‘familiar spirits’ who helped them do their magic. Familiars were often cats or toads.

A discourse on witchcraft. As it was acted in the family
of Mr Edward Fairfax of Fuystone
in the County of Yorke in the year 1621
1690

Three very well-known witches can be found in Shakespeare’s play Macbeth. At the time that this performance was first shown people firmly believed in witches, so to start the play showing their demoniacal plotting would have been a real curtain raiser.

The plays of William Shakespeare embellished with plates
1807

In all these pictures the witches are old and ugly; a fairly typical depiction. Witches are ugly because it makes them easier to hate and be scared of, although it was also believed that witches had the ability to appear beautiful in order to ensnare the unwary.

Of course not all witches are scary, here’s the fairy godmother from Cinderella, a witch who does good, a white witch. She does look quite typically witchy though with her tall hat, cloak and long nose.

The Wonder book of Fairy Tales by A J Johnson 1903

Have a happy and safe Halloween and keep an eye on the sky for those broomsticks!

All these books and much much more can be found in the Special Collections and are all available for study. Please contact Sarah Griffin for more information.

Tuesday, 27 May 2014

‘The Pity of War’ - conflict and remembrance

The latest exhibition from Special Collections looks at conflict and remembrance through material found in the holdings at York.

War affects everyone in some way - whether as a front line soldier, an artist or poet moved to create works inspired by war, or people who feel their conscience will not allow them to fight and kill their fellow men.

The four cases in the Harry Fairhurst corridor focus on War in Yorkshire; Art and War; the First World War; and finally the theme of Remembrance. Highlights include a silk hanky commemorating South African battles, copies of the Tribunal, a newspaper produced by the No Conscription Fellowship, and a book of Rupert Brooke's poetry with an inscription that ties it directly to the poet.

Brooke's Nineteen Fourteen sonnet sequence must be among some of the best known poems in the world. Written at the beginning of the First World War in a time before the reality and horror of trench warfare had started to become apparent, they reflect a spirit of confidence and patriotism that would be gradually eroded over the next four years.

Image from Collected poems of Rupert Brooke London 1918
Brooke was 27 when war broke out and already a published poet. He was commissioned into the Royal Naval Division with many of his friends including Arthur Asquith, son of the Prime Minister. The regiment set sail for Gallipoli but Brooke developed septicaemia from an infected mosquito bite and died off the coast of Greece on 23 April 1915. His friends, including Asquith, buried him on the island of Skyros where his tomb still remains.

Picture: Brooke's tomb on Skyros from Wikipedia - reproduced under a Creative Commons licence. 
After the war the architect Edwin Lutyens was asked to design a memorial in honour of the Royal Naval Division. The first six lines of Brooke's third sonnet were chosen to be engraved on it.

Blow out, you bugles, over the rich Dead!
There's none of these so lonely and poor of old,
But, dying, has made us rarer gifts than gold.
These laid the world away; poured out the red
Sweet wine of youth; gave up the years to be
Of work and joy, and that unhoped serene,
That men call age; and those who would have been,
Their sons, they gave, their immortality.

In Special Collections at the University of York is a book of Brooke's collected poems published in 1918. The inscription on the first page reads:
Edwin Lutyens from Arthur Asquith
The first eight lines of sonnet III are the inscription for our Royal Naval Division memorial. July 1924.
Inscription from Collected poems of Rupert Brooke, London, 1918
From the Eliot collection, University of York.
The memorial was unveiled in May 1925 so it would be nice to think that the book was given by Asquith to Lutyens to remind the architect of the exact wording required for the inscription.

Brooke's legacy is very different to the other war poets such as Siegfried Sassoon and Wilfred Owen. He has an almost mythical aura, the golden warrior who died before his time. His war poetry does mirror emotions that were widely felt at the beginning of the First World War but most of his work was written before 1914. So perhaps his more enduring legacy is in his pre-war poetry reflecting the sentiments and belief structure of a lost generation.

The exhibition runs until 28 August and can be found in the display cases along the Harry Fairhurst corridor. For more information please contact the Special Collections Librarian Sarah Griffinsarah.griffin@york.ac.uk.

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If you want to explore more on this topic, the Library subscribes to the First World War Poetry Digital Archive; an online repository of over 7000 items of text, images, audio, and video for teaching, learning, and research. You can access it through the E-resources Guide in YorSearch - just scroll down and click the link.

The Library also has access to The Cambridge Companions to Literature and Classics collection; also found in the E-resources Guide. This collection offers thousands of essays on major authors, periods and genres, written by experts and designed for student readers. Among many others there's a Companion to the Poetry of the First World War and a Companion to the Literature of the First World War.

Brooke's poetry can be found on the shelves in the Library at MA 181.9 BRO.

Photo: Poppy Field by Mark Shirley. Reproduced under a Creative Commons licence.

Monday, 24 March 2014

Judging a book by its cover

Nowadays many books are produced with a ‘perfect’ binding where the pages are stuck to the spine and invariably split open as soon as any pressure is applied. They are still the common book shape we are all familiar with but they are very different to books printed before 1801. Until the early 19th century bindings were all made by hand, so each one is unique.

There are a number of beautiful bindings in the Special Collections and among the best are those created by the Edwards’ workshop in Halifax, Yorkshire.

Image of book front cover
All photos by Paul Shields, used by permission
William Edwards (1722-1808) was the founder of a firm of book sellers and book binders. He had four sons, all of whom followed him into the business, and they made English bookbinding world famous. Edwards’ bindings are still much sought after and the Special Collections hold five of them.

What makes them special is a technique devised by the Edwards’ to make vellum clear. Vellum is untreated animal skin, the same thing that parchment is made out of, and it is normally opaque. At the Edwards bindery the vellum was soaked in pearl ash solution which bleached the vellum and made it transparent. Once treated, images could be painted on the underside of the vellum protecting the picture from dirt and scratches. There are a limited number of designs on Edwards’ books so presumably customers would choose from a book of models.

It is easy to spot Edwards’ books, even without the translucent binding, as they often use the same Grecian influenced design in the border known as metopes and pentaglyphs. Metopes are the concentric circles, and pentaglyphs the lozenges grouped in five.

Also found in Special Collections are some brass tools from the bindery.

Image of Binding tools in Special Collections
Binding tools - click to enlarge
Image of ornate book spine in Special Collections
Spine with gold lettering - click to enlarge
These would have been used to press letters and numbers onto the books. As you can see from the spine, these letters would have been in gold. The tools would be heated and then pressed onto the spine with gold leaf in-between the tool and the spine.

The Edwards’ firm also produced high quality foredge paintings. These were beautifully executed pictures painted on the edge of the book that could only be seen when the pages were fanned out. Ancient ruins and English countryside scenes were popular, and the Edwards’ often used Fountains Abbey.

By adding a foredge painting to an already expensive binding and pink silk linings to the inside of the covers, the firm of Edwards’ were creating the ultimate luxury item for an 18th-century bibliophile.

Image of book foredge with miniature painting
Many other bindings from the Special Collections are on display until 2 May 2014 in the corridor of the Harry Fairhurst building, ground floor.

Please contact the Special Collections Librarian Sarah Griffin for more information.

All photos are by Paul Shields, the University Photographer, and are used by permission. Click on any of them to enlarge the image.