tag:blogger.com,1999:blog-21003103342823040612024-03-14T04:22:06.074-07:00Books from the HMML BasementBooks from the HMML Basement is dedicated to the special collections at the Hill Museum & Manuscript Library. The collections hold over 10,000 rare printed books, along with several European, Ethiopian and other manuscripts. The articles in this blog will offer insights into these collections. You can search the contents of this blog by typing a term in the space below and clicking on "search."Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.comBlogger65125tag:blogger.com,1999:blog-2100310334282304061.post-70860744528316918082016-05-01T15:23:00.003-07:002020-12-05T06:07:26.367-08:00Shedding (Colored) Light on a Monastic Tradition; Or, the Rule of Benedict in Pictures<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Saint Benedict in the east window in the former Abbey Church <br />at Saint John's Abbey and University.</td></tr>
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The Books from the HMML Basement blog focuses on the rare books that the Hill Museum & Manuscript Library holds, or on the work that the Library has done preserving rare books and manuscripts overseas. Today's story takes a slightly different twist: A glimpse of the stained glass in the former Abbey Church at Saint John's Abbey--although books <i>will </i>appear later on. <br />
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When the Abbey commissioned Marcel Breuer to design a new Abbey Church in the 1950's, the old church (dedicated in 1882) was decommissioned and converted into a welcome center, today known as the "Great Hall." This is the venue for many concerts, formal dinners, blood drives, poster sessions, and other campus events. It is also the home of the campus information desk.<br />
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Today the Great Hall is still one of the chief sights on campus--even with all of the altars, much of the artwork and heavy decoration of the previous decades now removed. Only a few elements of the earlier decoration remain, notably the large Beuronese-style mural of Jesus in the apse and an attractive set of late 19th-century stained glass.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-hXEkNTt-wBE/VyUee0tD4SI/AAAAAAAAKu4/PZA91a3KAxQSFyUVPvmwse4dWNO8BA_lACLcB/s1600/IMG_0154.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://4.bp.blogspot.com/-hXEkNTt-wBE/VyUee0tD4SI/AAAAAAAAKu4/PZA91a3KAxQSFyUVPvmwse4dWNO8BA_lACLcB/s400/IMG_0154.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Beuronese mural painted by Brother Clement Frischauf, OSB, in the 1930's.</td></tr>
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Most people who trek to the Great Hall, do so to view the mural, which is stunning in itself. Indeed, it is hard to imagine that this huge work was partially hidden by an altar and baldacchino for several years. [<i>Please note that all photos of the Great Hall and its stained-glass collection in this blog post are my own--please be kind in critiquing the quality of the images!</i>]<br />
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While most of the remainder of the Great Hall has been simplified in its decor, with plain painted walls and (today) a gathering of banners, the main elements in the room that hearken back to the earliest days of this room as worship space are the stained-glass windows on three sides (north, east, and south). Installed in 1881, before the church opened, all but one of these windows were manufactured by the Chicago firm of George Misch & Co. (Cf. Fr. Tobias Maeder, OSB, "St. John's First Abbey Church (II)" in <i>Scriptorium </i>20 (1961); thanks to Brother David Klingeman, OSB, for this reference!). The design for the windows is attributed to the church's architect, the Rev. Gregory Steil, OSB.<br />
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The north windows are dedicated to the old law, embodied in the central portrait of Moses and with a series of emblems that allude to elements of the stories of the Old Testament: the tower of Babel, the brazen serpent, Noah's ark, etc.<br />
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<tr><td class="tr-caption" style="text-align: center;">Stories from the Old Testament: A hand taps a rod <br />onto a stone and water comes forth.</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-OIGab83u6ko/VyUgYu1UOAI/AAAAAAAAKvE/ggwIMB3xwjUrvG64o146JwdF54QnBRxjACLcB/s1600/Moses02a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="296" src="https://4.bp.blogspot.com/-OIGab83u6ko/VyUgYu1UOAI/AAAAAAAAKvE/ggwIMB3xwjUrvG64o146JwdF54QnBRxjACLcB/s320/Moses02a.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stories from the Old Testament: The jewel-covered <br />breastplate of judgment.</td></tr>
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Due to its position in the building (to the north) this window does not get very good sunlight for the amateur photographer. I have not yet been able to get a good photo of the parts of the window, so I can only offer a glimpse of two emblems.<br />
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Facing this window to the south is a another rose window dedicated to Jesus Christ and presenting emblems that focus on human salvation through him. These emblems roughly parallel those in the north transept--there the Tower of Babel, here the church as symbol of stability; there the rock brings forth water, here the heart of Jesus springs forth blood; etc.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AKg1WytmOvU/VyUkkD_c4NI/AAAAAAAAKvU/_QzLEGC64RYeK2CQH-8HraFz3yW_i9m6QCLcB/s1600/AbbeyChurch03a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="294" src="https://1.bp.blogspot.com/-AKg1WytmOvU/VyUkkD_c4NI/AAAAAAAAKvU/_QzLEGC64RYeK2CQH-8HraFz3yW_i9m6QCLcB/s320/AbbeyChurch03a.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The south rose window, dedicated to Jesus.</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-REQWjTOAGEI/VyUkkfptftI/AAAAAAAAKvY/GYLrLsgNxN04gQk_RlykSDK_PIIVq6qdgCLcB/s1600/Jesus01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="183" src="https://1.bp.blogspot.com/-REQWjTOAGEI/VyUkkfptftI/AAAAAAAAKvY/GYLrLsgNxN04gQk_RlykSDK_PIIVq6qdgCLcB/s200/Jesus01.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of one of the emblems: the Crucifixion.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail: The bleeding heart of Jesus (parallel to the <br />water springing from the stone).</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail: The Eucharist.</td></tr>
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As you can see from the photos, the emblems on both sets of windows offer an easily recognizable overview of Christian beliefs, based on Biblical and Christian iconography. The intention is to provide a sampling of such possible emblems, not a complete palette depicting the history of salvation.<br />
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In addition to these two rose windows in the transepts, there are also several saints offered in the side windows: five Benedictine men to the north (Gregory the Great, Benedict, Placid, Maur, and Boniface) and five Benedictine women to the south (Scholastica, Walpurga, Edeltrud, Mechthild, and Gertrude). Along the side walls are other important teachers of the church: Jerome, Ambrose, Thomas Aquinas, et al., and of course, John the Baptist (the patron of St. John's Abbey) immediately above the main entrance.<br />
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It is the east window, over the main entrance of the Great Hall to which I would now like to turn my attention and the remainder of this article.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-F-LUF3b5xCU/VyUcdP9FcxI/AAAAAAAAKuk/JI-KaJ7CALgnFBG_nRFzSaWJpw80OeS5QCLcB/s1600/IMG_0201b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="377" src="https://2.bp.blogspot.com/-F-LUF3b5xCU/VyUcdP9FcxI/AAAAAAAAKuk/JI-KaJ7CALgnFBG_nRFzSaWJpw80OeS5QCLcB/s400/IMG_0201b.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rose window over the main entry to the former <br />Abbey Church at Saint John's Abbey and University</td></tr>
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Repeating the format of the previous two windows, the center portrait shows Benedict with some of his customary attributes: a book (the Rule), a crosier (symbol of authority), and a cup with a snake in it (recalling an unsuccessful attempt to poison Benedict).<br />
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What becomes quickly noticeable about the surrounding emblems is the more complicated imagery that engages our attention: a heart with a laddar emerging from it, a pair of hands with a hammer and chisel making (or possibly destroying?) a statue, an awkwardly constructed building, etc. In addition, these pictures make a much greater use of captions or explanatory texts.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rdMDrJhc8bs/VyZsrwHssuI/AAAAAAAAKwA/bRuhjBouKJcFVgZeKnevRuvlRZIJYJVXgCLcB/s1600/Regula08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="299" src="https://1.bp.blogspot.com/-rdMDrJhc8bs/VyZsrwHssuI/AAAAAAAAKwA/bRuhjBouKJcFVgZeKnevRuvlRZIJYJVXgCLcB/s320/Regula08.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The opening of the Rule of Benedict: "Ausculta of Fili ..."</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A building constructed "without the rule" ("sine regula").</td></tr>
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At face value, these eight emblems are essentially a distillation of the Rule of Benedict, presented in a visual manner. As the artist asserts in these two images, life for a Benedictine would be disorderly without the Rule, while a life within the Rule is blessed and leads along the right path (exemplified in the "Y" in the first emblem).<br />
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However, this latter emblem awakened a slight memory in me of a book that was sitting in my office last week: Bonifaz Gallner's <i>Regula Emblematica</i> (Vienna, 1780). I had pulled this book from our rare book collection to show to visitors earlier in the week. The simple, library binding (green buckram) belied the beautiful plates within--168 plates that attempt to explicate the Rule visually and promote meditation upon the Rule.<br />
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Among these emblems I found the following:<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-DWYi2rgsIRQ/VyZwalwV5qI/AAAAAAAAKwQ/fcRcwgBN8DE5rDehkP7dG86uMb_rY22CgCLcB/s1600/SJURare01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-DWYi2rgsIRQ/VyZwalwV5qI/AAAAAAAAKwQ/fcRcwgBN8DE5rDehkP7dG86uMb_rY22CgCLcB/s320/SJURare01a.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emblem XIII (13) from Bonifaz Gallner's collection in the Saint John's Rare Book Collection. <br />I removed the text in this photo, but there is a selection from the Rule below this.</td></tr>
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Clearly the two emblems were related. Moreover, I also knew that the printed version of Gallner's emblem collection was based on a manuscript copy that the Hill Museum & Manuscript Library had microfilmed in 1965, when Father Oliver Kapsner, OSB, spent a few months at the Abbey of Melk (Gallner's home monastery) microfilming medieval manuscripts. I was able to locate our own color version of this manuscript:<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-fpstGGbcpP0/VyZxAa3lkxI/AAAAAAAAKwY/rJnxiURya_QFkKeGIum_dH89hj2p9QIeACLcB/s1600/1725_013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-fpstGGbcpP0/VyZxAa3lkxI/AAAAAAAAKwY/rJnxiURya_QFkKeGIum_dH89hj2p9QIeACLcB/s320/1725_013.jpg" width="185" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Part stencil, part manuscript, part engraving? <br />Codex 510 from the Abbey of Melk, Austria.</td></tr>
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Thus, we have a line of iconography extending from the early 18th century in Melk, to the late 18th century (printed in 1780 and 1783), to the late 19th century in the Midwestern United States (1881). Eventually, this line would lead to the digital world of today.<br />
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Indeed, upon further inspection, I found that all eight of the emblems surrounding the stained-glass Benedict portrait were derived ultimately from Gallner's emblem collection. Here is an overview of these images (<i>click on any of the images to see them enlarged</i>), not in numerical order, I'm afraid:<br />
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<tr><td class="tr-caption" style="text-align: center;">Emblem CLXXXII</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-KOu92WUsoeg/VyZySnQNoTI/AAAAAAAAKws/Fxz-b6-Z1qcJMOW5b0fkXuVRsBBZiKR5wCLcB/s1600/Regula02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="186" src="https://2.bp.blogspot.com/-KOu92WUsoeg/VyZySnQNoTI/AAAAAAAAKws/Fxz-b6-Z1qcJMOW5b0fkXuVRsBBZiKR5wCLcB/s200/Regula02.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emblem XXXV</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-LiJ2H9ZWGpg/VyZySaECszI/AAAAAAAAKwo/Mvo2PCRs9e0Esx1hOS0lSkMOIXFUWUSzQCLcB/s1600/Regula03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="186" src="https://3.bp.blogspot.com/-LiJ2H9ZWGpg/VyZySaECszI/AAAAAAAAKwo/Mvo2PCRs9e0Esx1hOS0lSkMOIXFUWUSzQCLcB/s200/Regula03.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emblem VIII</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Emblem LXXII</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Emblem CLXXXVII</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Emblem XI</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Emblem XIII</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-4QTvS5rhXeY/VyZyUrjxa3I/AAAAAAAAKxA/q8JN9qNBjW4Y-WZ97SzsU3cdgtA-IuRDwCLcB/s1600/Regula08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="186" src="https://4.bp.blogspot.com/-4QTvS5rhXeY/VyZyUrjxa3I/AAAAAAAAKxA/q8JN9qNBjW4Y-WZ97SzsU3cdgtA-IuRDwCLcB/s200/Regula08.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emblem LXV</td></tr>
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Each of these is intended to provide an insight into the Rule of Benedict, but not in a direct manner. These are meant to be read (visually and verbally) and pondered. They provide a framework for interpreting Benedict's approach to monasticism in community. As a framework, they also provide a foundation for the monks of the community, who would have seen these images several times every day as they left the church after the Divine Office and/or Mass.<br />
<br />
Knowing very little about Gallner and his collection (beyond the printed copy in the SJU Rare Book Collection), I turned to that trusty guide, Google, and searched his name (and the title of his book). I was delighted to find scores of references to him and his book, only to be somewhat deflated by the realization that nearly all of these were derivatives of the first item on the list: digital copies of his work on <a href="http://www.archive.org/">www.archive.org</a>, a free online resource for a wide variety of digitized materials. Indeed, I have just recently been adding reference works published by the Hill Museum & Manuscript Library to archive.org, myself! HMML now has about 20 titles in the massive holdings at that website.<br />
<br />
The two editions of Gallner's book can be found at these links (you can download them as pdf's or in other formats):<br />
<br />
1780 edition: <a href="http://archive.org/details/regvlaemblematic01bene"><span class="value">http://archive.org/details/regvlaemblematic01bene</span></a><br />
or: <a href="http://www.archive.org/details/regulaemblematic00gall"><span class="value">http://www.archive.org/details/regulaemblematic00gall</span></a><br />
<br />
1783 edition: <a href="http://www.archive.org/details/regulaemblematic00bene"><span class="value">http://www.archive.org/details/regulaemblematic00bene</span></a><br />
<br />
A great many of the emblems can be found in Google images, although frequently without the matching text from the Rule. If you want the emblems without the excerpts from the Rule, then go to Wikimedia Commons:<br />
<br />
<a href="https://commons.wikimedia.org/w/index.php?search=regula+emblematica&title=Special:Search&go=Go&uselang=en&searchToken=3dswn19yjkg2ho6dp2dy2bbav">https://commons.wikimedia.org/w/index.php?search=regula+emblematica&title=Special:Search&go=Go&uselang=en&searchToken=3dswn19yjkg2ho6dp2dy2bbav</a><br />
<br />
However, this site does not appear to include all 168 emblems in the original collection.<br />
<br />
You can also view the full color copy from the monastic library at the Abbey of Melk, Austria, on HMML's Vivarium website:<br />
<br />
<a href="http://cdm.csbsju.edu/cdm/ref/collection/HMMLClrMicr/id/21171">http://cdm.csbsju.edu/cdm/ref/collection/HMMLClrMicr/id/21171</a> <br />
<br />
So, I looked at a 246-year-old book in my office, found a clue about some stained glass in a building on our campus, that got tied back to the work that HMML did in Melk, Austria, back in 1965, and then I was connected back to the online work that HMML does today. Not bad for one little moment of diversion!<br />
<br />
Now if I can only find time to learn more about the individual emblems and Bonifaz Gallner, that could be a future blog post ...<br />
<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-gAXudOqHyMs/VyZ9wZlQyUI/AAAAAAAAKxY/_nK1jqQMQGwiVr3IWKeL2r3_O-okL4XwQCLcB/s1600/Melk_01-181a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-gAXudOqHyMs/VyZ9wZlQyUI/AAAAAAAAKxY/_nK1jqQMQGwiVr3IWKeL2r3_O-okL4XwQCLcB/s320/Melk_01-181a.jpg" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saint Benedict, from the 1725 copy of Bonifaz Gallner's <i>Regula Emblematica</i> <br />(Codex 510 from the Monastic Library at Melk Abbey, Austria; <br />digitized from HMML color microfilm).</td></tr>
</tbody></table>
<div style="text-align: center;">
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* * *</div>
<br />
<blockquote class="tr_bq">
<i>Peace from the Hill Museum & Manuscript Library and the Great Hall,</i><br />
<br />
Matt Heintzelman</blockquote>
<br />
<br />
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com8tag:blogger.com,1999:blog-2100310334282304061.post-83148377775318841812016-02-09T09:23:00.000-08:002016-02-10T06:37:04.221-08:00Ethiopia, Europe and Collegeville: Cultural Encounters Across Four Centuries<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-YZ_zskpRVMo/Vrj5qW4cw_I/AAAAAAAAKkA/b2OiS-eIJ9Y/s1600/IMG_5723.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://4.bp.blogspot.com/-YZ_zskpRVMo/Vrj5qW4cw_I/AAAAAAAAKkA/b2OiS-eIJ9Y/s400/IMG_5723.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exhibit on <i>Ethiopia, Europe and Collegeville</i>--at the <br />
Hill Museum <span style="color: red;">&</span> Manuscript Library until late April.</td></tr>
</tbody></table>
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<br />
<b>Ethiopia, Europe and Collegeville: Cultural Encounters across Four Centuries </b><br />
<br />
The ancient cultures of Ethiopia have been influential for centuries. Already from the time of King Solomon and the Queen of Sheba, Ethiopia (or Abyssinia in earlier traditions) has fascinated the outside world. Ethiopia was home to a highly developed Christian culture long before most European nations had become Christian. Over the centuries, the country became home to Jewish, Christian, Islamic, and nativist communities. <br />
<br />
A renewed European interest in Ethiopia developed in the 15th and 16th centuries, often confusing Ethiopian with Chaldean and Indian cultures and languages. Many also believed Ethiopia to be the home of the legendary “Prester John.” At the same time, the presence of Ethiopian monks at the church of Santo Stefano dei Mori in Rome also gave impetus to nascent scholarly interests. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/--vDtqBHAF-s/Vrj18SlZ5CI/AAAAAAAAKkI/vVQvGrJ9g6E/s1600/Getatchew01.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/--vDtqBHAF-s/Vrj18SlZ5CI/AAAAAAAAKkI/vVQvGrJ9g6E/s320/Getatchew01.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Getatchew Haile with a copy of the <br />
EMML Catalogue.</td></tr>
</tbody></table>
Ethiopia came to Collegeville in 1973 through a visit by Abuna Theophilos, the patriarch of the Ethiopian Tewahedo Orthodox Church. Communications between the Library and the Ethiopian church had been promoted by Dr. Walter Harrelson of Vanderbilt University. He saw potential advantages for a broader approach to Ethiopic studies in the Library’s practice of photographic preservation—thus leaving the original manuscripts in their homeland.<br />
<br />
Microfilming began there in 1973 and continued through many years of political and social strife. With patient and meticulous scholars like William Macomber and Getatchew Haile cataloging the microfilms, HMML quickly became known as one of the chief repositories and centers for Ethiopian studies. <br />
<br />
Today, HMML has assembled the largest collection of Ethiopian manuscript materials in the world—at least in photographs (especially in the EMML collection). The Library’s work in Africa has expanded to include manuscript digitization projects in Egypt and Mali.<br />
<br />
<br />
<br />
<b>======================================================================</b><br />
<b> </b> <br />
<b>Case 1:</b><br />
<br />
<b><i>Bandlet of Righteousness [Lǝfafä Ṣǝdǝq]</i>.</b> 20th century. <br />
<br />
The <i>Bandlet of Righteousness</i> is a collection of prayers that can be in a codex manuscript (like this one) or a scroll. It is usually buried with the person who has died, and thus can act as “sort of a passport to heaven” (HMML catalog). A living person might also carry it as an amulet. It represents a re-working of the Egyptian Book of the Dead that places special emphasis on the Virgin Mary’s role as intercessor for the deceased. Only she can obtain—with the help of her Son—the secret <i>Book of Life</i>, which accompanies the soul on the way to the Underworld.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-GKpv3PP5op8/Vrj2CFvYl9I/AAAAAAAAKhg/AD0razRzcmA/s1600/SJU_OR_E10_IMG_FC.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://4.bp.blogspot.com/-GKpv3PP5op8/Vrj2CFvYl9I/AAAAAAAAKhg/AD0razRzcmA/s320/SJU_OR_E10_IMG_FC.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SJU Ms. Or. E 10 from the Saint John's Rare Book Collection. <br />
Given to HMML in 1979 by Dr. Robert A. Coughenour.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-RC3VjwQzk28/Vrj2CmexvvI/AAAAAAAAKh0/cxKxcv2IYYc/s1600/SJU_OR_E10_IMG_pouch4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://1.bp.blogspot.com/-RC3VjwQzk28/Vrj2CmexvvI/AAAAAAAAKh0/cxKxcv2IYYc/s200/SJU_OR_E10_IMG_pouch4.jpg" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unique pouch for the <i>Bandlet of Righteousness</i>.</td></tr>
</tbody></table>
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<b>* * * * * *</b></div>
<br />
<br />
<b>Seven-Day Prayers. [uncataloged] </b><br />
<br />
Collection of prayers,
some by Ephrem. The manuscript also includes miniatures of St. George,
the Virgin Mary with Jesus, St. Michael, and St. Gabriel. <br />
<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bTgen483HkM/Vrj19Ot25_I/AAAAAAAAKkI/30a7rC-BV5Y/s1600/Henze6_IMG_002v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-bTgen483HkM/Vrj19Ot25_I/AAAAAAAAKkI/30a7rC-BV5Y/s320/Henze6_IMG_002v.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Manuscript codex on parchment. HMML Henze Ms. 6, the HMML Rare Book <br />
Collection. Given to HMML by the family of Paul M. Henze.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
<b>Johann Georg Schreiber (1676-1750). <i>Atlas selectus von allen Königreichen und Ländern der Welt, zum bequemen Gebrauch in Schulen, auf Reisen und beij dem Lesen der Zeitungen</i></b> verfertiget und in Kupffer gestochen von Johann George Schreibern. Leipzig, 1750 (?). <br />
<br />
In this 18th-century map of Africa, Ethiopia appears as a very large area of yellow just to the east of the center of the continent. Today Ethiopia is a much smaller, land-locked region in the Horn of Africa. </div>
<div style="text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-zS4A7WPk-AU/VrkEntQIBuI/AAAAAAAAKkU/oAlQu-zlaok/s1600/18th-c%2Bmap.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://4.bp.blogspot.com/-zS4A7WPk-AU/VrkEntQIBuI/AAAAAAAAKkU/oAlQu-zlaok/s320/18th-c%2Bmap.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">18th-century map of Africa from an atlas in the <br />
Saint John's Rare Book Collection.</td></tr>
</tbody></table>
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<div style="text-align: center;">
<b></b></div>
<br />
<i><b>An Ethiopian Manuscript Microfilming Program. A Joint Venture of Vanderbilt University Divinity School …, Hill Monastic Manuscript Library …, and the Ethiopian Manuscript Microfilm Library. </b></i>Collegeville, 1976. <br />
<br />
Prompted by Professor Walter Harrelson from Vanderbilt University, Dr. Julian G. Plante directed HMML’s preservation microfilming to Ethiopia. In 1973 the patriarch of the Ethiopian Orthodox Church, Abuna Theophilos, visited Saint John’s and received the Pax Christi award. HMML started microfilming in Ethiopia in 1973. Today the EMML collection holds over 8000 manuscripts in microfilm and digital facsimiles. Over 6000 of these microfilms have been cataloged over the past four decades.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-sPcY9QDTUlw/Vrj2G1J6YmI/AAAAAAAAKkI/WruQ1LAcg0k/s1600/image0037a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-sPcY9QDTUlw/Vrj2G1J6YmI/AAAAAAAAKkI/WruQ1LAcg0k/s320/image0037a.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Walter Harrelson and Dr. Julian G. Plante <br />
meeting with Emperor Haile Selassie in 1972. <br />
HMML Photo files.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<div style="text-align: center;">
<b></b></div>
<br />
<i><b>The Miracles of the Blessed Virgin Mary, and the Life of Hannâ (Saint Anne), and the Magical Prayers of A̕hĕta Mîkâêl: the Ethiopic Texts …</b></i> London: W. Griggs, 1900. <br />
<br />
Edited by E. A. Wallis Budge (1857-1934), who prided himself as a popularizer of Ethiopian culture. This massive volume presents important manuscripts of legends and miracles related to the Virgin Mary, with facsimile, edition and translation. The original manuscripts belonged to Lady Meux (1847-1910) and probably come from the 17th or 18th century. The collections of these miracles vary widely across the manuscript tradition. William Macomber collected references to over 600 such narratives in the Ethiopian tradition.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-ocdzLegNhuk/Vrj5qJzybKI/AAAAAAAAKkA/nAcszLxC1iE/s1600/IMG_5722.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-ocdzLegNhuk/Vrj5qJzybKI/AAAAAAAAKkA/nAcszLxC1iE/s320/IMG_5722.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Case 1, with the Miracles of the <i>Blessed Virgin <br />Mary</i> on the lower shelf.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>====================================================================== </b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>Case 2:</b></div>
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Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
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<b>Ethiopia Comes to Europe </b><br />
<br />
Already in the 15th century Ethiopians were travelling to Europe and by the end of that century, a church adjacent to St. Peter’s Basilica was reserved for the use of visiting Ethiopians: Santo Stefano dei Mori. Over the next two centuries, several European scholars and clergy—including Johann Potkin, Marianus Victorius, Jacobus Wemmers, and Hiob Ludolf—were inspired to study the language and culture of East Africa through the holiness of this community. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-SMbPqR3NoGI/Vrj2A1_jjJI/AAAAAAAAKkI/-bARsO9GO7o/s1600/Ludolf_IMG_0007_OP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://4.bp.blogspot.com/-SMbPqR3NoGI/Vrj2A1_jjJI/AAAAAAAAKkI/-bARsO9GO7o/s320/Ludolf_IMG_0007_OP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the supplement to Hiob Ludolf's <i>Historia Aethiopica</i> (1691). <br />
Saint John's Rare Books.</td></tr>
</tbody></table>
Already in 1513 Johann Potkin published the first Ethiopic-language book —appropriately a Psalter—in Rome. Five years later he issued a polyglot Psalter in Ethiopic, Latin, Greek, and Hebrew. About four decades later, Marianus Victorius published the first grammar of Ethiopic. The first dictionaries of Gǝʿǝz appeared in the 17th century, when a more scholarly approach to Ethiopic studies was promoted by Hiob Ludolf.<br />
<br />
<br />
European fascination with Ethiopia continued into the 18th and 19th centuries, with many reports from travelers to these regions—including Antonio Zucchelli, James Bruce, Henry Salt, and others. <br />
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<b>Marianus Victorius (1518-1572). <i>Zentu maṣḥafa temhert zalesam Geʿez zāyessammay Kalédawi ḥaddisa sera̓t tagabra kama yetmahharu e̓lla i̓ya a̓mmeru śannāy wee̓tu tagabra: Chaldeae seu Aethiopicae linguae institutiones</i>.</b> Romae: Typis Sac. Congregationis de Propaganda Fide, MDCXXX [1630] <br />
<br />
This is the first printed grammar for Gǝʿǝz, or classical Ethiopic, although the reference to Chaldean in the title is anachronistic. Sponsored by Pope Paul III, the book represents the Roman Church’s renewed interest in Ethiopic studies. Originally published by Marianus Victorius (Mariano Vittori) in 1552; this 1630 reprint was edited by Achille Venerio, omitting a list of Ethiopian kings and a section on music. Here we see an excerpt in Latin and Gǝʿǝz of the beginning of the Gospel of John.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-6cogSXLma5k/Vrj18bHaKlI/AAAAAAAAKkM/KOHMnnuSC-c/s1600/Gospel_of_John.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-6cogSXLma5k/Vrj18bHaKlI/AAAAAAAAKkM/KOHMnnuSC-c/s320/Gospel_of_John.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The opening of the Gospel of John. Arca Artium Collection.</td></tr>
</tbody></table>
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<b>Jacobus Wemmers (1598-1645). <i>Lexicon Æthiopicvm ... cum eiusdem linguae institutionibus grammat. & indice vocum Latinarum</i>.</b> Romæ: Typis & Impensis Sac. Congreg. de Propaganda Fide, 1638. <br />
<br />
Born in Antwerp, Jacobus Wemmers became a member of the Carmelite Order and studied in Rome, possibly with the scholars at Santo Stefano dei Mori. His lexicon of the Ethiopic language was the first such study published. It is unclear whether Wemmers ever visited Ethiopia himself. He was sent by the Sacra Congregatio de Propaganda Fide on a mission to re-establish the Catholic Church’s mission in Ethiopia in 1640, but details concerning this trip are lacking.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-5QigYiLNvvU/Vrj5pqZxUlI/AAAAAAAAKkA/9474lLX3AWE/s1600/IMG_5718.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://2.bp.blogspot.com/-5QigYiLNvvU/Vrj5pqZxUlI/AAAAAAAAKkA/9474lLX3AWE/s320/IMG_5718.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An Ethiopic grammar and two lexical works from the 17th century.</td></tr>
</tbody></table>
<br />
<b></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<b>Hiob Ludolf (1624-1704). <i>Lexicon aethiopico-latinum: exomnibus libris impressis, nonnullisque manuscriptis collectum ; et cum docto quodam Aethiope relectum</i>. Accessit authoris Grammatica, cum aliis nonullis quorum catalogum sequens pagina exhibebit</b>. Londini : T. Roycroft, 1661.<br />
<br />
<br />
Hiob Ludolf (or Job Leutholf) was the most important 17th-century scholar for Ethiopian studies and is credited with converting it into an academic discipline. He published widely on Ethiopian history and language. This volume (published in London by the printer of the London Polyglot) contains both an Ethiopic-Latin dictionary and an Ethiopic grammar. As with Wemmers, Ludolf’s interest in Ethiopic was kindled by his acquaintance with the community at Santo Stefano dei Mori in Rome, especially abba Gorgoryos, who became one of Ludolf’s primary sources.<br />
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<b>Hiob Ludolf (1624-1704). <i>Iobi Ludolfi aliàs Leut=holf dicti Historia Aethiopica: sive brevis & succincta descriptio regni Habessinorum, quod vulgò malè Presbyteri Iohannis vocatur ...</i></b><i> </i>Francofurti ad Moenum [Frankfurt am Main, Germany] : Prostat apud Joh. David Zunner, …, 1681. With the 1691 supplement.<br />
<br />
Abba Gorgoryos was the major resource for Ludolf’s major work on the history of Ethiopia, the <i>Historia Aethiopica</i>, published in 1681 (with a supplement added in 1691). Appearing after Ludolf’s retirement from public service, it was published at time when the Holy Roman Emperor, Leopold I, was reaching out to the Ethiopians for support against the expanding Ottoman Empire (including the siege of Vienna in 1683). The supplement includes many folded plates depicting Ethiopian history, culture, and natural resources.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-MDgi5dEpB10/Vrj2BMIi28I/AAAAAAAAKkI/vfkpoOKNcDU/s1600/Ludolf_IMG_0008_OP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="249" src="https://3.bp.blogspot.com/-MDgi5dEpB10/Vrj2BMIi28I/AAAAAAAAKkI/vfkpoOKNcDU/s320/Ludolf_IMG_0008_OP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the supplement to Ludolf's <i>Historia Aethiopica</i>.</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-waX7EL0fops/Vrj2BN8uc3I/AAAAAAAAKkI/3WrHiPgXwkY/s1600/Ludolf_IMG_0009_OP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-waX7EL0fops/Vrj2BN8uc3I/AAAAAAAAKkI/3WrHiPgXwkY/s320/Ludolf_IMG_0009_OP.jpg" width="209" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the Saint John's Rare Books Collection.</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<i><b>Maseḥafa mazemurāte za Dāwite, hoc est, Psalterium Davidis Aethiopice et Latine: cum duobus impressis & tribus MSStis codicibus diligenter collatum & emendatum, nec non variis lectionibus …</b></i> Francofurti ad Moenum: Prostat apud Johannem David. Zunner. et Nicolaum Wilhelmum Helwig. …, 1701. Edited by Hiob Ludolf.<br />
<br />
The Ethiopic Psalter had already been published in 1513 (Rome) and 1518 (Cologne), and Ludolf used these early editions in part for preparing his new edition. The 1701 Psalter appeared in two editions, one with Latin translation for the European market, and one without the Latin translation for free distribution within Ethiopia by traders from the “Indian Company” (Darlow-Moule 3572 and 3573).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-SnEquDNUhro/Vrj5pS30IkI/AAAAAAAAKkA/PfpYbaePdkU/s1600/IMG_5717.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://1.bp.blogspot.com/-SnEquDNUhro/Vrj5pS30IkI/AAAAAAAAKkA/PfpYbaePdkU/s320/IMG_5717.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ludolf's 1701 edition of the Ethiopic <i>Psalter</i>. Arca Artium Collection.</td></tr>
</tbody></table>
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<b>Antonio Zucchelli (1663-1716). <i>Merckwürdige Missions- und Reise-Beschreibung nach Congo in Ethiopien ...</i></b> [Noteworthy Description of Mission and Travel to the Congo in Ethiopia]. Franckfurt am Mayn: Gleditsch & Weidmann, 1715.<br />
<br />
Already in the 17th and 18th centuries, several evangelizing missions were launched by religious orders of the Catholic Church—including ones by the Jesuits, Franciscans, and Dominicans. This work, written by a Capuchin missionary from Austria, was translated from Italian into German. The frontispiece offers an insight into the problematic and condescending early modern views of many Europeans toward Ethiopians and Ethiopia.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-wuoPru-Y-_k/Vrj2GItbjPI/AAAAAAAAKkA/UKwPma270BE/s1600/Zucchelli_IMG_5739.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://3.bp.blogspot.com/-wuoPru-Y-_k/Vrj2GItbjPI/AAAAAAAAKkA/UKwPma270BE/s320/Zucchelli_IMG_5739.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Missionary zeal from an 18th-century Capuchin. <br />
From the Saint John's Rare Book Collection.</td></tr>
</tbody></table>
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<b>James Bruce (1730-1794). <i>Travels to Discover the Source of the Nile in the Years 1768, 1769, 1770, 1771, 1772, and 1773</i>.</b> Edinburgh: Printed by J. Ruthven, for G.G.J. and J. Robinson, Paternoster-row, London, 1790.<br />
<br />
The Travels recount Bruce’s attempt to locate the source of the Blue Nile. Included in his account are several details of the cultural life in East Africa, including the trade practices, the languages, the history, etc. French and German translations soon followed. The final volume includes “Specimens of Natural History,” including this engraving of a <i>teff </i>plant, one of the major sources for grains in Ethiopia. Bruce also commissioned the copying of dozens of Ethiopian manuscripts during his visit.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Jj6wSxErx3Y/Vrj17cE7dbI/AAAAAAAAKkI/bY4_vwNAmUA/s1600/Bruce_IMG_5700.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://4.bp.blogspot.com/-Jj6wSxErx3Y/Vrj17cE7dbI/AAAAAAAAKkI/bY4_vwNAmUA/s320/Bruce_IMG_5700.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>teff </i>plant with its description. From the Arca Artium Collection.</td></tr>
</tbody></table>
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<b>Henry Salt (1780-1827). <i>A Voyage to Abyssinia: and Travels into the Interior of that Country, Executed under the Orders of the British Government, in the Years 1809 and 1810</i>.</b> London: F.C. and J. Rivington, 1814.<br />
<br />
Salt was an Egyptologist who visited Ethiopia between 1802 and 1806, during extended journeys to the Indies, Sri Lanka, and Egypt. His experiences convinced him of the inaccuracy of James Bruce’s <i>Travels</i>. With the support of the Society for Promoting the Discovery of the Interior Parts of Africa, he traveled to Ethiopia in 1809-1810 with the hope of establishing trade and diplomatic relationships between England and Ethiopia.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-qvWU8NN3RaE/Vrj2FtdZK9I/AAAAAAAAKkI/W3Jt8-urLIE/s1600/Salt_IMG_5703.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="195" src="https://3.bp.blogspot.com/-qvWU8NN3RaE/Vrj2FtdZK9I/AAAAAAAAKkI/W3Jt8-urLIE/s320/Salt_IMG_5703.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An Ethiopian scholar from <i>A Voyage to Abyssinia</i>. <br />
From the HMML Rare Book Collection.</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>====================================================================== </b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>Case 3:</b></div>
<br />
<b>Ethiopian Manuscripts from the Saint John’s and HMML Collections</b><br />
<br />
Over the past four decades, the Hill Museum & Manuscript Library has become internationally famous as a center for Ethiopic studies. Scholars from around the world have come to Collegeville to use the vast microfilm and digital collections of manuscripts in Gǝʿǝz and Amharic. The cataloging expertise of William Macomber and Getatchew Haile was frequently in demand for Ethiopian collections within North America.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PWtiG6ssHPQ/Vrj17GxxECI/AAAAAAAAKkI/DnA3VBemZ4c/s1600/Bill%2BMacomber.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-PWtiG6ssHPQ/Vrj17GxxECI/AAAAAAAAKkI/DnA3VBemZ4c/s320/Bill%2BMacomber.jpg" width="269" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">William Macomber working at HMML in the 1970's.</td></tr>
</tbody></table>
<br />
As a result, several actual Ethiopian manuscripts have been donated to the Hill Museum & Manuscript Library and to Saint John’s University. Today the Library holds nearly 50 manuscripts in Gǝʿǝz and Amharic, including both scrolls and codex manuscripts. The latest and largest single gift of manuscripts came from the family of Paul M. Henze in 2013.<br />
<br />
The original manuscripts allow visitors to HMML to experience the books in ways that photographs cannot support. Codicological studies of each item tell us much about how the books were made (materials, tools and techniques) and their physical condition (with smoky residue, for example) can tell us how they were used.<br />
<br />
<br />
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
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<i><b>Psalter (Dawit)</b></i> (late 17th century?)<br />
<br />
Ethiopian Psalters usually contain much more than just the Biblical
psalms and are used for both liturgy and private prayer. In this volume,
the Book of Psalms (ff. 3-117) is followed by fifteen Biblical
Canticles, the Song of Solomon, the Praises of Mary (<i>Wǝddase Maryam</i>),
and the Gate of Light (<i>Anqäṣä Bǝrhan</i>). These additions constitute about
one third of the book. Ethiopian Psalters have followed this arrangement
of psalms, hymns and prayers since the 14th century.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="320" src="https://2.bp.blogspot.com/-KDwq2231FkM/Vrj2BunOAAI/AAAAAAAAKkM/XCYBQ4UKW04/s320/Plante_IMG_078v.jpg" style="margin-left: auto; margin-right: auto;" width="213" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of HMML's oldest Psalters. Given by its former <br />
director, Dr. Julian G. Plante.</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<i><b>Psalter (Dawit)</b></i> (20th century).<br />
<br />
As the daily prayer-book for Ethiopian Christians, the Psalter needs to be portable so that it can be used anywhere at any time. Thus, just like many types of Ethiopian manuscripts, it generally comes with a leather carrying pouch. Not only is the Psalter one of the most frequently copied texts, it has also been central to traditional educational techniques and has even been used for folk medicine and magic.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-uQQbGpc03nU/Vrj2C45lCvI/AAAAAAAAKkM/eDMjzJjzrdk/s1600/SJU_OR_E15_IMG_fc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-uQQbGpc03nU/Vrj2C45lCvI/AAAAAAAAKkM/eDMjzJjzrdk/s320/SJU_OR_E15_IMG_fc.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SJU Ms. Or. E 15 - a 20th-century Psalter.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-DsGYS8GC3Gg/Vrj2EdlPYZI/AAAAAAAAKkM/8zKxuvGhHAY/s1600/SJU_OR_E15_IMG_fp.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-DsGYS8GC3Gg/Vrj2EdlPYZI/AAAAAAAAKkM/8zKxuvGhHAY/s320/SJU_OR_E15_IMG_fp.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Textile used as pastedown inside the front cover.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-80wixgL50Xk/Vrj2ERisAQI/AAAAAAAAKkM/zHeIxjaolz8/s1600/SJU_OR_E15_pouch%2B4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-80wixgL50Xk/Vrj2ERisAQI/AAAAAAAAKkM/zHeIxjaolz8/s320/SJU_OR_E15_pouch%2B4.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pouch for Ms. Or. E 15. <br />
Saint John's Rare Book Collection.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<b><i>Hymnbook</i>, with musical notation</b> (19th century)<br />
<br />
This book contains part of the Common Antiphonary (<i>Mǝʿǝraf</i>) of the Ethiopian Church that contains the chants for the choir. The marks above the lines of text are musical notation. The book is divided into four collections of chants, along with the common of the Divine Office for Sundays (<i>Mǝʿǝrāf za-Mäwäddǝs</i>).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-R771lWCoKS4/Vrj2FbkmwJI/AAAAAAAAKkM/6LWhKo_rfws/s1600/SJU_OR_E2_IMG_013r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-R771lWCoKS4/Vrj2FbkmwJI/AAAAAAAAKkM/6LWhKo_rfws/s320/SJU_OR_E2_IMG_013r.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A hymnal with musical notation. SJU Ms. Or. E 2. <br />
Saint John's Rare Book Collection.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<i><b>Book of Funeral Rites</b></i> (uncataloged).<br />
<br />
The largest Ethiopian manuscript in the collections at Saint John’s. It contains assorted texts used for funerals. As with the <i>Psalter</i>, it comes with its own carrying pouch.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-XlwMan-K9Tk/Vrj18h24D7I/AAAAAAAAKkI/s4kPAHkv_Ik/s1600/Henze1_IMG_001r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-XlwMan-K9Tk/Vrj18h24D7I/AAAAAAAAKkI/s4kPAHkv_Ik/s320/Henze1_IMG_001r.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flyleaf from Henze Ms. 1, a collection of readings and prayers <br />
for funerals. HMML Rare Book Collection.</td></tr>
</tbody></table>
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<i><b>Prayer scroll</b></i> (19th/20th century).<br />
<br />
Prayer scrolls (also called magic scrolls) contain protective prayers copied for a specific owner. As amulets, their protective value comes not in reading the prayers, but in the mere fact of owning the scroll. This particular scroll opens with the picture of an angel at the top, followed by a prayer for the subjugation of a foe, and then prayers against demons, sudden death, pleurisy, colic, evil eye, etc. A second miniature halfway down — shows two angels joined at the feet (one is upside down). Fully unrolled, this scroll would be over six feet long.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-16Mc9RdJZBc/VrlbGBVEYPI/AAAAAAAAKlI/_1mUChjB6uw/s1600/IMG_005a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-16Mc9RdJZBc/VrlbGBVEYPI/AAAAAAAAKlI/_1mUChjB6uw/s320/IMG_005a.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Two angels from a prayer scroll. Wenner Ms. 2. <br />
HMML Rare Book Collection. Gift of Louise Wenner.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<i><b>Gospel of John</b></i> (20th century).<br />
<br />
Ethiopian manuscripts are generally written on thick parchment sheets and may have simple wooden boards for covers or blind-stamped leather bindings with textile linings. An uncovered binding, such as this one, allows us to see the use of Coptic stitching across the spine. Each gathering of parchment is attached to the stitch with a special looping pattern. This manuscript also has a unique carrying pouch with two nesting halves.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rgADTgCsP58/Vrlbpd3x91I/AAAAAAAAKk8/YYV9iIPAiJA/s1600/book%2Band%2Bcase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://1.bp.blogspot.com/-rgADTgCsP58/Vrlbpd3x91I/AAAAAAAAKk8/YYV9iIPAiJA/s320/book%2Band%2Bcase.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Gospel of John</i>, with carrying pouch. Wenner Ms. 1. <br />
HMML Rare Book Collection. Gift of Louise Wenner.</td></tr>
</tbody></table>
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<i><b>Prayer-Book: The Holy Trinity</b></i> (uncataloged)<br />
<br />
The large script in this manuscript demonstrates well the careful ruling that organizes the text on the page. The leaves have clear delineations where a drypoint marker was used to keep the copied text straight. Note also the prickings (holes) along the outer margins that were used to keep the distance between the lines even.<br />
<b><br /></b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bgfTIYdWtyY/VrldndApcrI/AAAAAAAAKlo/M2Rembr57Ms/s1600/Henze7_IMG_004r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-bgfTIYdWtyY/VrldndApcrI/AAAAAAAAKlo/M2Rembr57Ms/s320/Henze7_IMG_004r.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Large script with ruling marks. Henze Ms. 7. <br />
HMML Rare Book Collection.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<i><b>Prayer-book</b></i> (20th century).<br />
<br />
Many Ethiopian manuscripts feature blind-stamped leather covers. The blind-stamping provides the opportunity to add symbolic imagery to the outside of the manuscript, like the delicate cross in the center of this front board.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6vqDpX_vmGc/VrldEgKCltI/AAAAAAAAKlU/0pRvHKXWpJI/s1600/Coskran%2BFront%2BCover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-6vqDpX_vmGc/VrldEgKCltI/AAAAAAAAKlU/0pRvHKXWpJI/s320/Coskran%2BFront%2BCover.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blind-stamped leather cover (dyed red). Coskran Ms. 1. <br />
HMML Rare Book Collection.</td></tr>
</tbody></table>
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<br />
<br />
<i><b>The Life of Takla Hâymânôt in the Version of Dabra Lîbanôs, and the Miracles of Takla Hâymânôt in the Version of Dabra Lîbânôs, and the Book of the Riches of Kings : The Ethiopic Texts …</b></i> Edited and translated by Ernest Alfred Wallis Budge. London: Priv. print. for Lady Meux, 1906.<br />
<br />
Täklä Haymanot (died 1313?) is given credit for bringing Christianity to much of central and southern Ethiopia, as well as founding Däbrä Libanos, a famous monastery. His miraculous life is recounted in several texts and different recensions, some with roots back to the 14th century. The recension from Däbrä Libanos is the most widely attested. This illustrated version is from Ms. Or. 723 of the British Museum (today British Library).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-BUEM1s6ZODY/Vrj2F6nNpjI/AAAAAAAAKkI/4MvV4FsOwEU/s1600/Takla1_IMG_136r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-BUEM1s6ZODY/Vrj2F6nNpjI/AAAAAAAAKkI/4MvV4FsOwEU/s320/Takla1_IMG_136r.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the life of <i>Takla Hâymânôt</i>, ed. by E. Wallis Budge. <br />
Arca Artium Collection.</td></tr>
</tbody></table>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-mSchzn7VUAQ/Vrj2GP8cGQI/AAAAAAAAKkI/JZbp3-UFzYQ/s1600/Takla2_IMG_096r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-mSchzn7VUAQ/Vrj2GP8cGQI/AAAAAAAAKkI/JZbp3-UFzYQ/s320/Takla2_IMG_096r.jpg" width="213" /></a></div>
<br />
<b><br /></b><br />
<div style="text-align: center;">
<b>* * * * * *</b></div>
<b>====================================================================== </b><br />
<b><br /></b>
<b>Case 4:</b><br />
<br />
<b>Girma Belachew. <i>Queen of Sheba’s Journey to Jerusalem.</i></b><br />
<br />
Japanese mineral color and real gold on goatskin. Wood backing. 1987<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AXVkdoGap1k/Vrj5rHEjdSI/AAAAAAAAKkA/wXL_YXrocyo/s1600/IMG_5729.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-AXVkdoGap1k/Vrj5rHEjdSI/AAAAAAAAKkA/wXL_YXrocyo/s320/IMG_5729.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Case 4 with a painting of the Queen of Sheba and processional <br />
crosses. The painting was donated by the Rev. Herold <br />
Pavelis and the crosses and sistrum by Franklin H. Williams.</td></tr>
</tbody></table>
<br />
<br />
<b>Processional Crosses and a Sistrum</b><br />
<br />
<b>======================================================================</b><br />
<b></b><br />
<br />
<b>Bookshelf Case:</b><br />
<br />
<i><b>Masinko (Mäsinqo)</b></i><br />
<br />
A type of Ethiopian fiddle or lute that is used with a bow. The <i>masinko </i>is found chiefly in southern Eritrea and northern and central Ethiopia. Unlike many of the manuscripts in this exhibit, the masinko is intended more for secular use. It is generally made by hand with goatskin parchment over the sound box, gut strings, and a horsehair bow.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-1GDuZwUGhE4/Vrj2Bo8E2SI/AAAAAAAAKkA/tdnic3gM6nQ/s1600/Masinko_IMG_5741.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-1GDuZwUGhE4/Vrj2Bo8E2SI/AAAAAAAAKkA/tdnic3gM6nQ/s320/Masinko_IMG_5741.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mäsinqo given to HMML by Dr. Julian G. Plante, who first included <br />
Ethiopia in the Library's preservation mission.</td></tr>
</tbody></table>
<br />
<b>======================================================================</b><br />
<br />
In conclusion, I would like to thank all those who have contributed to the success of HMML's work in Ethiopia and to the preparation of the exhibit "Ethiopia, Europe and Collegeville," both at HMML and overseas:<br />
<br />
<blockquote class="tr_bq">
<i>Tim Ternes</i> prepared the physical exhibit. <i>Wayne Torborg</i> and others provided photographs. <i>Getatchew Haile</i>'s and <i>William Macomber</i>'s cataloging made this work possible. <i>Walter Harrelson</i> and <i>Julian G. Plante</i> gave the initial impetus to the project. <i>Abuna Theophilos</i> supported the start of the microfilming in the early 1970's. <i>Charles McCabe</i> provided technical direction. Many families and individuals donated manuscripts and artifacts to the HMML collections, including the <i>Wenner </i>family, the <i>Henze </i>family, the <i>Coskran </i>family, <i>Franklin H. Williams</i>, <i>Robert A. Coughenour</i>, and the <i>Rev. Herold Pavelis</i>. I would also like to thank <i>Frank Kacmarcik</i>, whose Arca Artium collection provides many of the items in this exhibit, and whose book funds support the enhancement of the research collections (including the two recently acquired 17th-century Ethiopic lexica and Bruce's <i>Travels</i>).</blockquote>
<br />
<div style="text-align: center;">
* * * * * *</div>
<br />
<b><i>Peace to all who have supported HMML's preservation work in Ethiopia.</i></b><br />
<br />
Matt Heintzelman<br />
<br />
<br />
Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com2tag:blogger.com,1999:blog-2100310334282304061.post-32820436861631898732015-06-06T13:40:00.000-07:002015-06-06T13:40:06.760-07:00(A Facsimile is) Worth a Thousand Words<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-vpwdI_QnIRE/VXM3qgSX7WI/AAAAAAAAJls/PRmCgMywl6Q/s1600/IMG_1865.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-vpwdI_QnIRE/VXM3qgSX7WI/AAAAAAAAJls/PRmCgMywl6Q/s320/IMG_1865.jpg" width="320" /></a></div>
<br />
<h2>
“Worth a Thousand Words” – Manuscript Studies and the Facsimile </h2>
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<blockquote class="tr_bq">
<i>This past week I was privileged to work with Tim Ternes to set up a small exhibit in the new HMML exhibition cases (one free-standing, three wall cases). This time, rather than putting out the "best" stuff or prettiest stuff, I thought it might be of interest to present various approaches to producing facsimiles or copies of manuscripts throughout the past few centuries. Here is brief preview of the exhibit. This exhibit will stay up until late August 2015. </i></blockquote>
<br />
<h3>
Introduction </h3>
Since 1965 the Hill Museum & Manuscript Library has pursued the preservation of handwritten culture through photographic means—first with microfilm and now digitally. In doing so, the Library has continued the long practice of preparing facsimiles of manuscripts and archival documents. The facsimile has long been a tool for scholars to study manuscripts that they did not have directly in front of them. However, earlier facsimiles were often expensive, scarce, or, at best, subject to artistic interpretation. <br />
<br />
The term facsimile is a compound of the two Latin words <i>facere</i>, meaning “to make,” and <i>simile</i>, meaning “alike” or “similar’ (indeed, this word is also the source of the name for the once popular fax machine). Most commonly today, the term refers to specially prepared printed copies of manuscripts, often on finer paper and with precise photographic reproduction. Manuscripts are often selected for facsimiles due to their artistic merit or historical importance. Beautiful manuscripts (e.g., the <i>Book of Kells</i>) have been made into facsimiles more than once, plain manuscripts only very rarely. Even the Saint John’s Bible is available in more than one facsimile edition. <br />
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Earlier facsimiles were generally prepared with the common technology of the time—in the Middle Ages this might be as new manuscripts (one manuscript copied directly from another), or woodcuts in the 16th century, engravings in the 17th and 18th centuries, lithographs, chromolithographs and eventually photolithographs in the 19th and 20th centuries. Newer facsimile publishers will not only strive to reproduce the pictures accurately, but also the shape of the leaves, holes in the parchment, dirt in the gutters, the binding, and even the feel or texture of the parchment. <br />
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In this exhibit you will find samples of various techniques for producing facsimiles. At the same time, you will be reviewing some of the ways that manuscripts and archival documents have been studied through the past five centuries. Enjoy. <br />
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<b>Case 1: Introduction</b><br />
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<a href="http://3.bp.blogspot.com/-h0_M_-Konaw/VXM3c_jjaAI/AAAAAAAAJkQ/LgXan-3VvFQ/s1600/IMG_0755a_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-h0_M_-Konaw/VXM3c_jjaAI/AAAAAAAAJkQ/LgXan-3VvFQ/s320/IMG_0755a_small.jpg" width="240" /></a><i>Die Darmstädter Pessach-Haggadah: Codex Orientalis 8 der Hessischen Landes- und Hochschulbibliothek Darmstadt</i>. Berlin: Propyläen Verlag, 1971-1972.<br />
HMML Rare Book Collection. <br />
<br />
A haggadah (the “telling”) is a book of prayers that set forth the order of the Passover Seder. As such, it is used during a meal that involves several types of food, including a Paschal lamb. This facsimile attempts to reproduce the actuality of the manuscript (held at a library in Darmstadt, Germany) down to details like the shape of the pages, the dirt in the edges and the stains left by greasy fingers in the upper corners of the pages. Even the golden initials appear to be three-dimensional, as in actual gold leaf. Thus, this edition demonstrates a much higher quality of modern facsimile production. This folio displayed contains my favorite image of the book as a means to form community--everyone is holding a book (presumably a haggadah) and is engaged in creating and re-creating community through the telling of the Exodus story. Not a text for solitary study, the haggadah prompts discourse among those gathered at the seder meal.<br />
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<br />
<a href="http://1.bp.blogspot.com/-3HohC542aSE/VXM3pvH59-I/AAAAAAAAJlU/iIEgXTB7aC4/s1600/IMG_1862.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-3HohC542aSE/VXM3pvH59-I/AAAAAAAAJlU/iIEgXTB7aC4/s320/IMG_1862.jpg" width="320" /></a>Freeman Delamotte (1814-1862). <i>A Primer of the Art of Illumination for the Use of Beginners</i>. London: E. & F. N. Spon, 1860.<br />
Arca Artium Rare Book Collection. Gift of Frank Kacmarcik. <br />
<br />
Delamotte’s Primer introduced students to methods for imitating medieval initials and decoration. This edition includes both colored (chromolithographed) leaves and uncolored leaves for the student’s practice. <br />
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<br />
<a href="http://4.bp.blogspot.com/-1kuMvmt8vTs/VXM3pWmrSBI/AAAAAAAAJlM/cVXBgPw6O7E/s1600/IMG_1861.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-1kuMvmt8vTs/VXM3pWmrSBI/AAAAAAAAJlM/cVXBgPw6O7E/s320/IMG_1861.jpg" width="320" /></a>Gottfried Bessel, OSB. <i>Chronicon Gotwicense, seu, Annales liberi et exempti Monasterii Gotwicensis, ordinis S. Benedicti inferioris Austriae</i>. [Tegernsee, Bavaria]: Typis Monasterii Tegernseensis O.S. Benedicti, 1732.<br />
HMML Rare Book Collection. <br />
<br />
This copy of the 1732 history of the Abbey of Göttweig (Austria) was never bound into a book, making it possible to show several facsimile plates simultaneously. These engraved facsimiles reflect a resurgence in the study of handwritten materials in the late 17th and early 18th centuries—led by the Benedictines from the Maurist Confederation, which developed new methods for testing the veracity of medieval documents. Here we see reproductions of several such documents relating to the history of the Abbey of Göttweig. <br />
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<br />
<br />
<br />
<b>Case 2: Early Facsimiles, From Manuscript to Engraving</b><br />
<br />
<a href="http://4.bp.blogspot.com/-s_Y8J28yyJs/VXM3eSswZlI/AAAAAAAAJkY/9d8vPD_OyvA/s1600/Mabon_IMG_016r.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-s_Y8J28yyJs/VXM3eSswZlI/AAAAAAAAJkY/9d8vPD_OyvA/s320/Mabon_IMG_016r.jpg" width="213" /></a><i>Mabon Book of Hours</i>. Saint John’s Rare Book Collection, SJU Ms. 1.<br />
Given to Saint John’s University in memory of James Brown Mabon. <br />
<br />
The earliest “facsimiles” of manuscripts were simply copies made from other manuscripts. Sometimes these copies would imitate not only the text of their models, but would also follow the layout or artistic presentation. Here we see Saint John the Evangelist on the island of Patmos, holding his writing tool and parchment. One might imagine medieval copyists working in a like manner to produce facsimiles of the books in front of them. Indeed, most medieval and ancient texts come to us in later copies. <br />
<br />
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<a href="http://2.bp.blogspot.com/-oHJ2l0O3iNU/VXM3bmkw1pI/AAAAAAAAJkI/E3gPIXao88Q/s1600/1485Missal__003r_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-oHJ2l0O3iNU/VXM3bmkw1pI/AAAAAAAAJkI/E3gPIXao88Q/s320/1485Missal__003r_small.jpg" width="213" /></a><i>Missale [secundum] ordine[m] sa[n]cte Romane ecclesie</i>. Venetijs: Imp[re]ssum per Magistrum Andream quo[n]dam Jacobi de Chataro apud Sanctam Mariam Formosam, 1485.<br />
Saint John’s Rare Book Collection. <br />
<br />
Early printed books often did not have large printed initials, but openings were left for an artist to add decorated, manuscript-like initials later. Sometimes these initials are illuminated, as here. The first leaf of this mass-book or missal demonstrates the urge to imitate manuscript art, even if not imitating a specific manuscript. <br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-LNVZrHjIfoE/VXM3fxZHd5I/AAAAAAAAJko/gfKVP0xARAk/s1600/Tagliente_007_small.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://2.bp.blogspot.com/-LNVZrHjIfoE/VXM3fxZHd5I/AAAAAAAAJko/gfKVP0xARAk/s320/Tagliente_007_small.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tagliente (1562)</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-MbRKQcew2Gc/VXM3fWISRZI/AAAAAAAAJkg/mgw1EzzE-gw/s1600/Palatino_025_small.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://2.bp.blogspot.com/-MbRKQcew2Gc/VXM3fWISRZI/AAAAAAAAJkg/mgw1EzzE-gw/s320/Palatino_025_small.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Palatino (1588)</td></tr>
</tbody></table>
Giovanni Antonio Tagliente.<i> Lo presente libro Insegna la vera arte delo excelle[n]te scriuere de diuerse varie sorti de litere lequali se fano per geometrica ragione [etc.]</i>. In Venetia: Per Francesco Rampazetto, 1562.<br />
Arca Artium Rare Book Collection. Gift of Frank Kacmarcik. <br />
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Giovanni Battista Palatino. <i>Compendio del gran volvme dell’art del bene & leggiadramente scriuere tutte le forti di lettere e caratteri</i>. Venetia: Appresso Aluise Sessa, 1588.<br />
Arca Artium Rare Book Collection. Gift of Frank Kacmarcik. <br />
<br />
Along with the advent of printing in the 15th century, a renewed interest in writing developed. With the help of woodcut printing, 16th-century writing masters could produce multiple copies of their instruction manuals, demonstrating their approach to forming letters. These manuals used what we might call “pseudo-documents” that demonstrate what a manuscript would look like in a given script. Thus, the facsimile is more to imitate a script than a particular manuscript. <br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-wIcUTvgGAtg/VXM3oovyQaI/AAAAAAAAJk4/UDzSQBvL1gw/s1600/IMG_1857.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-wIcUTvgGAtg/VXM3oovyQaI/AAAAAAAAJk4/UDzSQBvL1gw/s320/IMG_1857.jpg" width="320" /></a></div>
Charles François Toustain.<i> Nouveau traité de diplomatique, où l'on examine les fondemens de cet art: on établit des règles sur le discernement des titres, et l'on expose historiquement les caractères des bulles pontificales et des diplömes donnés en chaque siècle.</i> A Paris: Chez Guillaume Desprez [etc.], 1762.<br />
Saint John’s Rare Book Collection. <br />
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In the late 17th century, a group of Benedictine monks in Paris (the Maurists) started to research the history of their order and developed a new science—diplomatics (or the study of the authenticity of archival documents)—that set new standards for studying handwritten texts, both archival and manuscript. The <i>Nouveau Traité</i> provides numerous examples of archival documents in facsimiles printed from engraved metal plates. This allowed for greater detail than that from woodcut printing. Here we see a bull issued by Pope Honorius III (1150-1227). <br />
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<i>[Sadly, no picture of this one yet.]</i><br />
Andrés Merino. <i>Escuela paleographica, ó de leer letras antiguas, desde la entrade de los Godos en España hasta nuestros tiempos</i>. Madrid: Juan Antonio Lozano, 1780.<br />
Saint John’s Rare Book Collection. <br />
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Facsimiles were generally prepared with one of two purposes in mind: either teaching the use of various scripts, or for the interpretation of documents and manuscripts. In this case, the author has provided examples of two Spanish documents, dated 1484 and 1492, with transcriptions. Note the elaborate initial “I” in the opening line (“In dei nomine” or “in the name of God”). At the end of each sample is an alphabet showing the letter forms for the script in question. <br />
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<b>Case 3: New Technologies - Lithography and Photography</b><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-ZJccEpYXyik/VXM3qYiu5ZI/AAAAAAAAJlo/Cxjc3veJdzo/s1600/IMG_1864.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-ZJccEpYXyik/VXM3qYiu5ZI/AAAAAAAAJlo/Cxjc3veJdzo/s320/IMG_1864.jpg" width="320" /></a></div>
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Virgil. <i>P. VergilI Maronis codex antiquissimus a Rufio Turcio Aproniano V.C. distinctus et emendatus qui nunc Florentiae in Bibliotheca Mediceo-Laurentiana adseruatur bono publico typis descriptus ..</i>. Florientiae: Typis Mannianis, 1741.<br />
Arca Artium Rare Book Collection.<br />
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Virgil. <i>Vergili Medicei simillimum: publice phototypice impressum</i>. Romae: Typis Regiae Officinae Polygraphicae, 1931.<br />
HMML Rare Book Collection. <br />
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Along with woodcuts and engravings, printers also produced facsimiles using typeset letters. In this edition of Virgil’s works, the font, use of color, and the layout of the pages attempt to imitate closely the original manuscript in Florence. However, these two examples also show the marked difference between a photographic reproduction and an earlier (typeset) attempt at authenticity. The earlier facsimile does not distribute the text on the lines in quite the same scale as the original. However, the later facsimile is more difficult to read due to damage to the ink on the leaves. <br />
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<i> [Again, sadly, no image available yet!]</i><br />
Aimé Louis Champollion-Figeac. <i>Paléographie des classiques latins d'après les plus beaux manuscrits de la Bibliothèque Royale de Paris: recueil de fac-similé fidèlement exécutés sur les originaux et accompagnés de notices historiques et descriptives.</i> Paris: E. Panckoucke, 1839.<br />
Saint John’s Rare Book Collection. <br />
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In the early 19th century, printers began experimenting with a new form of producing images—the lithograph, or “stone printing.” This not only enabled a more realistic mode of representation, it also made multicolored printing easier. And, as the title asserts, the facsimiles are faithfully executed from the originals. <br />
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<a href="http://4.bp.blogspot.com/-ehuUxKxZJCE/VXM3qHi1PVI/AAAAAAAAJlc/pvJizzMDzMM/s1600/IMG_1863.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-ehuUxKxZJCE/VXM3qHi1PVI/AAAAAAAAJlc/pvJizzMDzMM/s320/IMG_1863.jpg" width="320" /></a></div>
John Obadiah Westwood. <i>Palæographia sacra pictoria: being a series of illustrations of the ancient versions of the Bible, copied from illuminated manuscripts, executed between the fourth and sixteenth centuries</i>. London: William Smith, 1843-1845.<br />
Saint John’s Rare Book Collection. <br />
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The lithographic techniques improved quickly, and richer coloration was soon possible. Chromolithography provided a livelier reproduction, as seen here in the 11th-century Gospels of King Canute, with text in both Latin and Old English. While the colors seem somewhat garish to our eyes today, the use of color was a marked improvement over engravings for manuscript studies. <br />
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<a href="http://3.bp.blogspot.com/-zbM8g06OsoE/VXM3cGt-xgI/AAAAAAAAJkE/Is6y6IoZhRk/s1600/Fenton_18-19.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="190" src="http://3.bp.blogspot.com/-zbM8g06OsoE/VXM3cGt-xgI/AAAAAAAAJkE/Is6y6IoZhRk/s320/Fenton_18-19.jpg" width="320" /></a></div>
<i>Photographic facsimiles of the remains of the Epistles of Clement of Rome, made from the unique copy preserved in the Codex Alexandrinus.</i> London: Trustees of the British Museum, 1856.<br />
HMML Rare Book Collection. <br />
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An early use of photography to produce a manuscript facsimile. In this case, the photos are actual photographic plates and not photolithographs. Photography opened up the possibility for more accurate representations of manuscripts. These salted paper prints (from glass negatives) were made by Roger Fenton, later famous as a war photographer. On plate 18 we find a touch of veracity not possible in woodcuts, engravings or lithographs: the fingers of Fenton’s assistant, holding down the corners of the manuscript. Before long, the printing (both in black-and-white and in color reproductions) of such facsimiles with photographic means (including photo-lithography) became common for manuscript studies.<br />
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<b>Case 4: Modern Color Photographic Facsimiles</b><br />
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Lorscher Rotulus (Scroll from Lorsch). <i>Vollständige Faksimile-Ausgabe im Originalformat des Lorscher Rotulus, Stadt- und Universitätsbibliothek Frankfurt am Main, Ms. Barth. 179</i>. Graz: Akademische Druck- u. Verlagsanstalt, 1994f<br />
HMML Rare Book Collection. <br />
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<blockquote class="tr_bq">
9th-century scroll with litany of 534 saints, commissioned by Louis the German (Ludwig der Deutsche), grandson of Emperor Charlemagne. </blockquote>
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<i>Mosaner Psalter-Fragment: vollständige Faksimile-Ausgabe im Originalformat des Codex 78 A 6 aus dem Kupferstichkabinett der Staatlichen Museen Preussischer Kulturbesitz, Berlin</i>. Graz: Akademische Druck- und Verlagsanstalt, 1974-1975. HMML Rare Book Collection. <br />
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<blockquote class="tr_bq">
Fragment of an illustrated, 12th-century Psalter. Here we see three scenes from the Gospel of Matthew: the flight to Egypt, King Herod ordering the slaughter of the innocents, and the horrific scenes of the slaughter itself. </blockquote>
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Life of Saint Liudger (in Latin). <i>Vollständige Faksimile-Ausgabe im Original-Format der Vita Sancti Liudgeri: Ms. theol. lat. fol. 323 der Staatsbibliothek zu Berlin, Preussischer Kulturbesitz</i>. Graz: Akademische Druck- u. Verlagsanstalt; Bielefeld: Verlag für Regionalgeschichte, c1993. HMML Rare Book Collection.j <br />
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<blockquote class="tr_bq">
Saint Liudger was a missionary to the northern Germany and Saxony and a contemporary of Emperor Charlemagne. This late 11th-century vita (or life) of the saint includes many representations of important moments in his life and death, including those shown here: a miraculous catch of fish and the intercession of an angel to save a person from hanging. </blockquote>
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<i>Der Goldene Psalter: "Dagulf-Psalter" : vollständige Faksimile-Ausgabe im Originalformat von Codex 1861 der Österreichischen Nationalbibliothek</i>. Graz: Akademische Druck- u. Verlagsanstalt, 1980. HMML Rare Book Collection. <br />
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<blockquote class="tr_bq">
This late 8th-century psalter was prepared for Emperor Charlemagne and his wife Hildegard by a scribe named Dagulf. The size and format of the book point to it being for private devotion and not for public or liturgical use. </blockquote>
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Peter of Poitiers. <i>Genealogia Christi</i>. Barcelona: M. Moleiro Editor, 2000. Facsimile of Ms. 4254 from the Biblioteca Casanatense (Rome). HMML Rare Book Collection. <br />
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<blockquote class="tr_bq">
This 14th-century scroll reflects the desire of the author, Peter of Poitiers (ca. 1130-1215), to provide students with an easy and quick overview of the family tree of Jesus Christ as derived from the Old Testament and the Gospel of Matthew. Note the use of color as a mnemonic device: women’s names are in green circles and men’s names in red circles. </blockquote>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3GK--3mxu9Q/VXM3q8jqvRI/AAAAAAAAJlw/bEEHTqHqwRE/s1600/IMG_1866.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://2.bp.blogspot.com/-3GK--3mxu9Q/VXM3q8jqvRI/AAAAAAAAJlw/bEEHTqHqwRE/s400/IMG_1866.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The last case in the HMML exhibit, with the new reading room visible in the background.</td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
*************************</div>
<br />
<blockquote class="tr_bq">
The study of manuscripts through facsimiles continues today, especially in the use of digital reproductions. Today, however, we try to reproduce all manuscripts and documents, regardless of their beauty or importance. After all, we cannot know what future scholars will find worth studying.<br />
<br />
<i>Until next time ... Peace!</i><br />
<br />
Matt Heintzelman</blockquote>
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-13125154817358964642015-04-16T05:13:00.003-07:002015-04-16T05:13:20.648-07:00It was 50 years ago today ...<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vA9S9zApdlM/VS8diCc2GbI/AAAAAAAAJa8/O0CO0qiXLks/s1600/Plate01367.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-vA9S9zApdlM/VS8diCc2GbI/AAAAAAAAJa8/O0CO0qiXLks/s1600/Plate01367.jpg" height="322" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The library at Kremsmünster Abbey, from a book plate (ex libris) <br />
in the Saint John's Collections.</td></tr>
</tbody></table>
<br />
<blockquote class="tr_bq">
<i>The following article is dedicated to the monastic community at </i><i>Kremsmünster Abbey in gratitude for their enthusiastic support in 1965 that started HMML's whole process of manuscript preservation through photography.</i></blockquote>
<br />
<br />
<h3>
<b>The Work (Finally) Begins: Getting Started in Kremsmünster (April 1965) </b></h3>
On this date, April 16, 1965, the first actual photography took place in all of HMML's preservation work. The very first manuscript filmed was a collection of sermons, which happens to share the primary position in the Kremsmünster collection, where it is listed as "Codex Cremifanensis 1." Unfortunately, we have no photographs of Father Oliver working in Kremsmuenster, except one possibly of him with his colleague for technical support, Eugene Power.<br />
<br />
<br />
Father Oliver describes Kremsmünster in his second <i>Progress Report</i> (June 1965): <br />
<blockquote class="tr_bq">
“The Abbey of Kremsmünster was founded in 777 by Herzog Tassilo III of Bavaria, as a religious shrine to commemorate the sad event of the death of his son, who was killed in the area by a wild boar during a hunting expedition. Except for the tragic years of 1939-45, when the entire monastic community was ejected by the German warlords from the north from what had been its home for over a thousand years, the Abbey has enjoyed an unbroken and flourishing existence. During the Nazi occupation the entire manuscript collection of the Abbey was transferred elsewhere. Thanks to the generous cooperation from American military forces, the collection was recovered shortly after the war, with the loss of only a few codices. It goes without saying that their precious manuscript collection is now dearer to the Benedictine monks than ever before.” </blockquote>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-S2eqnrb49Cc/VS8aBIWtjQI/AAAAAAAAJag/Nix_71HMYEw/s1600/Kremsmunster_1-016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-S2eqnrb49Cc/VS8aBIWtjQI/AAAAAAAAJag/Nix_71HMYEw/s1600/Kremsmunster_1-016.jpg" height="226" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Mirror of Human Salvation from the Kremsmünster Monastery Library. From color <br />microfilm photographed by Father Oliver Kapsner and his team in 1965.</td></tr>
</tbody></table>
<br />
Father Oliver Kapsner’s brief synopsis of Kremsmünster Abbey’s history does little justice to the work that he and his colleagues accomplished in getting this first microfilming site set up and running smoothly. After his brief respite at the Benedictine house of Einsiedeln (Switzerland) during the Christmas season, Father Oliver returned to the logistical planning for the microfilming. Already in January he met with the director of University Microfilms, Mr. Eugene Power: <br />
<blockquote class="tr_bq">
“Mr. Power telephoned again a few days ago, now wants me to meet him in Vienna next week, to inspect the electric power situation in a few abbeys before moving in with equipment. He almost upset the applecart by suggesting using women employees. I has specifically mentioned in my letter to him “Women excluded.” Yet he dares to come back with the idea, as if I have not had enough trouble as it is to get entrée. Is there a shortage of the male species in America? To get at the manuscripts we must enter intimate parts of the monastery in most instances.” (Father Oliver to Father Colman, January 18, 1965; from Einsiedeln)</blockquote>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-618ThRkBsc0/VS8XOTeUyHI/AAAAAAAAJaA/sMdZi6yUYfw/s1600/Kremsmunster_2-315.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-618ThRkBsc0/VS8XOTeUyHI/AAAAAAAAJaA/sMdZi6yUYfw/s1600/Kremsmunster_2-315.jpg" height="236" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Biblia pauperum from the Kremsmuenster Monastery Library. From color microfilm <br />photographed by Father Oliver Kapsner and his team in 1965.</td></tr>
</tbody></table>
<br />
Fortunately, today women are no longer “excluded” from HMML’s work—quite the contrary. Many of our overseas photographers (from the 1980’s to the present) have been women. However, the world was still quite different in 1960’s Austria, and such access into libraries within all-male monasteries was too difficult for Father Oliver to manage. Indeed, finding appropriate personnel was just one of the problems he faced in these early days: <br />
<blockquote class="tr_bq">
“Mr. Power came to meet me in Vienna last week. Together we visited four of the abbeys on our schedule. While some of my problems have been solved, his are now beginning, namely: variety of manuscripts and bindings, variety of electricity (three of the four abbeys do not have sufficient amperes on their regular circuit), right manpower, patience. He thinks we may be able to start in about five or six weeks, at Kremsmünster.” (Father Oliver to Father Colman, February 5, 1965; Schottenstift, Vienna)</blockquote>
<br />
Many other aspects of the work were ironed out during the months of February and March 1965, such as the annual renewal of the contract with University Microfilms for the technical aspects of the project, and the storage of negative copies of the films at the company’s Ann Arbor offices. The films would be developed in Austria, and then shipped to Michigan, where two positive copies would be made—one for Saint John’s and one for the owning library. Father Oliver also discussed the difficulties of hiring camera operators from the United States, since they would likely feel isolated in a German-speaking world. In light of the difficulties related to unusual work spaces, varying electrical supply, and the materials themselves, Mr. Eugene Power also suggested to Father Oliver that he should expect an operator to produce an average of about 1000 exposures per day, not the 1500 that was a common output at locations in the United States.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-t3pgOvmF5qI/VS8ZOFqjAcI/AAAAAAAAJaY/YBEV6Px9K-Y/s1600/Kremsmunster_2-385.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-t3pgOvmF5qI/VS8ZOFqjAcI/AAAAAAAAJaY/YBEV6Px9K-Y/s1600/Kremsmunster_2-385.jpg" height="304" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The prophet Joel from a Latin Bible in the Kremsmünster Monastery Library. From color <br />microfilm photographed by Father Oliver Kapsner and his team in 1965.</td></tr>
</tbody></table>
<br />
In a letter to Father Oliver, dated February 9, 1965, Father Colman informs him that the Knights of Columbus have decided to donate $10,000 to help start the project. Along with this gift came a request that Father Oliver provide photos of the work being done. This is likely the ultimate impulse for the documentary photographs taken at Seitenstetten Monastery later in 1965 (See: They Shoot Manuscripts, Don’t They?). Father Colman’s secretary (Elaine Vogel) appended her own note to the letter that the Knights of Columbus had requested a thousand copies of Father Oliver’s first Progress Report to distribute to its members. <br />
<br />
Finally, in the second week of April 1965, Father Oliver was able to report to Father Colman directly from Kremsmünster: <br />
<blockquote class="tr_bq">
“At long last Mr. Power of University Microfilms arrived in Austria in order to start the microfilm project. The last time he was here (Feb. 1) the flu bug hit him. It apparently took a long time to recover from it back in the States, but fortunately he did recover. The Austrian President Schärf was also hit by the flu (Grippe) a week after Mr. Power, and another week later he was buried. …”</blockquote>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-FQuFq2PfYUs/VS8W-aS2xwI/AAAAAAAAJZ4/1IcUcLU-GvQ/s1600/Kremsmunster_2-029.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-FQuFq2PfYUs/VS8W-aS2xwI/AAAAAAAAJZ4/1IcUcLU-GvQ/s1600/Kremsmunster_2-029.jpg" height="250" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Codex Cremifanensis (Schatzkasten) 6. Vaticinia et imagines Ioachimi abbatis <br />Florensis Calabriae ... From color microfilm photographed by Father Oliver Kapsner <br />and his team in 1965.</td></tr>
</tbody></table>
<br />
<blockquote class="tr_bq">
“Anyhow he is here now. But what a headache to get this project off the ground in a foreign country. We have spent three days now in the offices of lawyers, customs, insurance agency, bank, Kodak Co., Volkswagen Co. Yesterday I sat three hours in a lawyer’s office (we are a foreign corporation, with foreign equipment and foreign employee in this highly socialized state). Yesterday we also spent three hours in the customs office, and still did not get the equipment (12 pieces) cleared. We have to return to customs today, and if we get the equipment we can finally proceed tomorrow to Kremsmünster, to wrestle with the local problems there. Holy Week is obviously not the best time to proceed there, but we must go when the going is possible. Yesterday we also received our Volkswagen Kombi (small truck with removable seats). And I will be responsible for the whole work and works. Brother, if my next letter to you comes from jail, I hope you are disposed to send me some food parcels. Anyhow, keep your fingers crossed. The people at the Nationalbibliothek admire the scope of our project and our courage, which may be a polite Austrian way of saying we may be presumptuous. They know that we will not be doing this work in a convenient laboratory, but under a variety of local conditions. However, they would very much like to have a positive microfilm copy of all the manuscripts in Austrian monasteries. That could be settled when the Austrian project is done.” (Father Oliver to Father Colman, April 13, 1965; from Kremsmünster)</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-KOpKOpf4rEg/VS8igLIJggI/AAAAAAAAJbU/PTigpNQtsIU/s1600/Kapsner%2B%26%2BPowers%2B(small).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-KOpKOpf4rEg/VS8igLIJggI/AAAAAAAAJbU/PTigpNQtsIU/s1600/Kapsner%2B%26%2BPowers%2B%28small%29.jpg" height="245" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB, and Eugene Power from University Microfilms, in front of the <br />van used to transport the microfilming equipment and team. Photo taken in Austria.</td></tr>
</tbody></table>
<br />
He also reports in this note the appreciation at Kremsmünster for the gift copy of Father Colman’s history of Saint John’s, Worship and work. He also notes with pride that he has added four more monasteries to his list of microfilming partners! In the midst of the busy-ness of getting the equipment and team in place, Father Oliver did not write for almost two weeks, at which point he could finally report the start of the actual microfilming: <br />
<blockquote class="tr_bq">
“Here is a continuation of my last epistle, and of our work and problems. It will still take all of a month till we really know how we are doing, not till after University Microfilms has received our products and approves our work. </blockquote>
<blockquote class="tr_bq">
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-3U5Z0aFMod0/VS8kc0c7OiI/AAAAAAAAJbg/gubheWbX36s/s1600/HMML00001b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-3U5Z0aFMod0/VS8kc0c7OiI/AAAAAAAAJbg/gubheWbX36s/s1600/HMML00001b.jpg" height="169" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Probably the very first photograph taken for all of HMML's preservation <br />work--the identification plate on the first reel of film shot.</td></tr>
</tbody></table>
<br />
We arrived here with staff and equipment on Wednesday of Holy Week [April 14, 1965]. It took two days to get set up. Electricity will be quite a problem wherever we go. We really needed Mr. Power on the spot to put all the parts together and pull this through; he really knows his stuff. By Good Friday afternoon, of all days, the first photographs could be taken, and work continued till Saturday noon. Easter Sunday Mr. Power left, feeling certain that we could manage, and obviously fed up with this weather. The two camera operators, one from abroad, the other an Austrian, are trying their best, but need experience to handle these tricky medieval manuscripts. The films are developed in Vienna, 120 miles away, and one shipment has now been returned. We ship every day. It would be a catastroph[e] to really lose any films in the mail. We need twice as much work space as I had thought, and it may not be so simple to get that much in all the monasteries. Besides being responsible for the work, workers and equipment, I prepare the materials, and my typed bibliographical entry has to be filmed first. In addition, in my eagerness to get the project on the way, I volunteered to Mr. Power to inspect the films, but I must leave off on that, as my eyes just can’t stand all day work with old manuscripts and the microfilm reader. Incidentally, have you somebody ready to take over in case I should falter, for as you know, I am no longer a spring chicken, and neither this life nor this work is a picnic. Like anybody else, I can just try my best and leave the rest in the hands of the Lord.” … </blockquote>
<br />
<blockquote class="tr_bq">
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-XBtq5Qb_UmQ/VS8keAuT4kI/AAAAAAAAJbo/PNTZBTGSTi8/s1600/HMML00001a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-XBtq5Qb_UmQ/VS8keAuT4kI/AAAAAAAAJbo/PNTZBTGSTi8/s1600/HMML00001a.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Codex Cremifanensis 1 (HMML Project no. 1) - a collection of sermons. <br />The manuscript is about 400 leaves long!</td></tr>
</tbody></table>
<br />
“The first week of April looked like spring, then Austrian winter returned and hasn’t let up since. The big hills outside my window are covered with white snow, the real stuff. The newspaper headlines for April 22 read: <i>König Winter kehrt wieder zurück [King Winter comes back]</i>. And on April 24 the newspaper headlines announced: <i>Regen, Regen, Regen—und dauernde Kälte [Rain, Rain, Rain--and lasting cold]</i>. There are floods in eastern Austria and in Burgenland (Abbot Alcuin’s homeland). Imaging all this in Austria at this time of year. I still wear my overcoat in choir (their own monks do the same) and in the library workroom, as neither place is heated. The natives are hardened to all this, though they do not like this return of winter a bit. Brother, if I ever live through all this and survive, I may become so tough that you may have to use an axe to dismiss me from this vale of tears. The friendly Austrian attitude continues through all this, which is indeed a blessing and a help.” (Father Oliver to Father Colman, April 26, 1965; from Kremsmünster)</blockquote>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-lN9l8aH8Pac/VS8X4wbQv0I/AAAAAAAAJaM/tJpBNsIeZAU/s1600/Kremsmunster_2-463.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-lN9l8aH8Pac/VS8X4wbQv0I/AAAAAAAAJaM/tJpBNsIeZAU/s1600/Kremsmunster_2-463.jpg" height="318" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Ascension from a Latin Bible in the Kremsmünster Monastery Library. From color <br />microfilm photographed by Father Oliver Kapsner and his team in 1965.</td></tr>
</tbody></table>
<br />
Father Colman did his part by supporting the work from afar—he sent a copy of his history of Saint John’s (Worship and Work) to the abbot and community at Kremsmünster. They responded enthusiastically and noted that they are trying to help Father Oliver in any way they can: <br />
<blockquote class="tr_bq">
“Es freut uns alle, dass P. Oliver bei uns ist und er mit dem Fortgang der Arbeiten zufrieden sein kann. Soweit wir können, unterstützen wir die Arbeiten.” [We are all glad that Father Oliver is staying with us and that he is satisfied with the progress of the work. We try to help with his tasks in any way we can.] (Albert Bruckmayr, OSB, to Father Colman Barry, OSB; May 8, 1965; from Kremsmünster)</blockquote>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-efg_RI-S44Y/VS8aLOc61nI/AAAAAAAAJao/8x7I_2j6Hp0/s1600/IMG_1396.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-efg_RI-S44Y/VS8aLOc61nI/AAAAAAAAJao/8x7I_2j6Hp0/s1600/IMG_1396.jpg" height="250" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Unserem lieben P. Oliver Kapsner, St. Johns USA. Zur freundlichen Erinnerung <br />
an seinen Aufenthalt in Kremsmünster 1965 ..." [To our dear Father Oliver Kapsner from <br />St. John's, USA. In friendly remembrance of his stay at Kremsmünster in 1965 ...]</td></tr>
</tbody></table>
<br />
Finally, on June 8, 1965, Father Oliver reported to Father Colman from Kremsmünster: <br />
<blockquote class="tr_bq">
“Today we finish the photographing of manuscripts at Kremsmünster. Enclosed is my second <i>Progress Report</i>, which embodies a job actually completed, and for which St. John’s should be having the films, all of them, before too long, probably another month before the last ones will arrive from University Microfilms. We shipped the last ones there today.”</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-gWm6X5bNbmY/VS8aMvOpSUI/AAAAAAAAJaw/pJeqA9MooRA/s1600/IMG_1398.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-gWm6X5bNbmY/VS8aMvOpSUI/AAAAAAAAJaw/pJeqA9MooRA/s1600/IMG_1398.jpg" height="229" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Books given to Father Oliver during his stay at Kremsmünster .</td></tr>
</tbody></table>
<br />
He noted as well the irony that the Abbey’s most famous manuscript—the <i>Codex Millenarius</i>—was away on exhibit. He was able to microfilm this landmark manuscript later during the Austrian project. From Kremsmünster, Father Oliver and his team continued on to Lambach Abbey and shortly thereafter to Seitenstetten. After several months of delays, the photographic preservation of manuscripts was now (finally) in full swing!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UdtZVNn10qs/VS8WoBEaMRI/AAAAAAAAJZw/vQte1Ecy3TU/s1600/Kremsmunster_1-065.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-UdtZVNn10qs/VS8WoBEaMRI/AAAAAAAAJZw/vQte1Ecy3TU/s1600/Kremsmunster_1-065.jpg" height="300" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>Codex Millenarius</i> (the evangelist Matthew) from the Kremsmünster Monastery Library. From <br />color microfilm photographed by Father Oliver Kapsner and his team in 1965.</td></tr>
</tbody></table>
<br />
<br />
<blockquote class="tr_bq">
<b><i>Thanks to the community at </i></b><b><i>Kremsmünster Abbey and their then abbot, Albert Bruckmayr, HMML had a successful start to its now fifty-year-old mission of preserving manuscripts through photography. With the help of partners like those at </i></b><b><i>Kremsmünster , HMML has been able to pursue an international undertaking unimaginable to Father Oliver when the first pages were microfilmed!</i></b></blockquote>
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com0tag:blogger.com,1999:blog-2100310334282304061.post-91196800542980764432015-02-26T13:23:00.002-08:002015-02-26T13:23:21.649-08:00HMML Celebrates its 50th anniversary at the 50th International Congress on Medieval Studies (Kalamazoo)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-rVotlsULBk0/Ud2quKbSHxI/AAAAAAAAC2U/aaxAelon4CA/s1600/Austrian016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-rVotlsULBk0/Ud2quKbSHxI/AAAAAAAAC2U/aaxAelon4CA/s1600/Austrian016.jpg" height="316" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Father Oliver Kapsner, OSB, and his Austrian team at Seitenstetten Abbey in 1965.</b></td></tr>
</tbody></table>
<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 16.0pt; line-height: 107%;">HMML at
Kalamazoo 2015</span></b></div>
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<br /></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span><span style="line-height: 107%;">Listed below are the sessions sponsored (or co-sponsored) by the Hill Museum & Manuscript Library at the 2015 International Congress on Medieval Studies.</span></span><b><span style="line-height: 107%;"> </span></b></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><b><span style="line-height: 107%;"></span></b></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br />Additional information on the Congress is on the Medieval Institute website:</span></span>
<span style="font-family: inherit;"><span style="font-size: small;"><a href="http://wmich.edu/medieval/congress/index.html">http://wmich.edu/medieval/congress/index.html</a></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Come help us celebrate 50 years of manuscript preservation!</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Thursday </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">May 14</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">10:00-11:30</span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Session 46</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Waldo Library</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Classroom A</span></b></div>
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<br /></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Digital Humanities Resources for the Study of Central
Europe in the Middle Ages</span></b></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">(A Roundtable)</span></b></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Sponsor: Hill Museum & Manuscript
Library (HMML); Special Collections and Rare Book Dept., Waldo Library,
Western Michigan Univ.</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Organizer: Susan M. B. Steuer,
Western Michigan Univ.</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Presider: Matthew Z. Heintzelman,
Hill Museum & Manuscript Library</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">A roundtable discussion with Klaus M. Schmidt, Univ.
Salzburg/Bowling Green State Univ.; Ramona Fritschi, Univ. de
Fribourg/e-codices; Eric J. Johnson, Ohio State Univ. Libraries; and James R.
Ginther, St. Louis Univ.</span><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Thursday</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">May 14</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">1:30-3:00</span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Session 76</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Schneider 2345</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></b></div>
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<br /></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 4.5in;" valign="top" width="432">
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">HMML at Fifty: Preserving Manuscripts and Providing Access
for Five Decades</span></b></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Sponsor: Hill Museum & Manuscript
Library (HMML)</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Organizer: Matthew Z. Heintzelman,
Hill Museum & Manuscript Library</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Presider: Daniel K. Gullo, Hill
Museum & Manuscript Library</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 26.1pt; margin-right: 0in; margin-top: 0in; mso-layout-grid-align: none; text-autospace: none; text-indent: -26.1pt;">
<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Across Four Decades and Two Continents: HMML in Austria,
Spain, Malta, Ethiopia, Germany, Portugal, England, Switzerland, and Sweden<br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Matthew Z. Heintzelman</span></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">HMML’s Past Decade and the Turn <i>ad Orientem</i>:
Digitizing Threatened Manuscripts in the Middle East, Africa, and South India<br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Columba Stewart, OSB, Hill Museum
& Manuscript Library</span></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Applied Digital Humanities: Supporting Scholars and
Students of Medieval Studies with vHMML and Reading Room<br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">William Straub, Hill Museum &
Manuscript Library</span><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Thursday</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">May 14</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">3:30-5:00</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Session 126</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: UniversLTStd;">Schneider 2345</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></b></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Slavery and Slave Trade in Medieval Mediterranean Society</span></b></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Sponsor: Hill Museum & Manuscript
Library (HMML)</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Organizer: Daniel K. Gullo, Hill
Museum & Manuscript Library</span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Presider: Shannon N. Godlove,
Columbus State Univ.</span></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Slavery along the Christian-Andalusí Borderlands <br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Yasmine Beale-Rivaya, Texas State
Univ.–San Marcos</span></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">On the Slaves’ Network of Communication in the Ottoman
Crimea<br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Oleksander Halenko, Institute of
History of Ukraine, National Academy of Sciences of Ukraine</span></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Observations on Slavery and the Slave Trade in Late
Medieval Malta<br />
</span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Daniel K. Gullo</span><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Friday</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">May 15</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">9:00
p.m.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Bernhard
208</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></b></div>
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Hill Museum & Manuscript Library (HMML) </span></b><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Reception with open bar</span><span style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-urTRDWFG-AI/U1530At5GRI/AAAAAAAAFt8/IAjLPjgoxU8/s1600/scan075.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-urTRDWFG-AI/U1530At5GRI/AAAAAAAAFt8/IAjLPjgoxU8/s1600/scan075.jpg" height="301" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Groundbreaking ceremony for the HMML building in April 1975 (40 years ago!).</td></tr>
</tbody></table>
<br />
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com0tag:blogger.com,1999:blog-2100310334282304061.post-47924689984196679852015-01-02T08:47:00.000-08:002015-01-02T08:47:02.534-08:0050 Years Ago: A Cold House of God<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-iLtwFWUeTPk/U12p6KfL2RI/AAAAAAAAFoY/zAqLUw9bJMU/s1600/21%2BMMML%2BGroundbreaking.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-iLtwFWUeTPk/U12p6KfL2RI/AAAAAAAAFoY/zAqLUw9bJMU/s1600/21%2BMMML%2BGroundbreaking.jpg" height="231" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">40 years ago: Father Oliver looks on as the president of St. John's University <br />(Fr. Michael Blecker, OSB) and the director of HMML (Dr. Julian G. Plante) <br />break ground for the future home of HMML's microfilm collections.</td></tr>
</tbody></table>
<br />
<br />
<b>Fifty years ago</b>, Father Oliver Kapsner, OSB, was taking a short break from his travels and celebrating Christmas at the hospitable abbey of Einsiedeln in Switzerland. This interlude marked the break between the heavy activity of visiting several monasteries in a relatively short time and the actual start of microfilming (with the need for a staff and the camera set-ups).<br />
<br />
In a letter to Father Colman Barry, OSB, dated January 2, 1965, he reported the following from the comfort accommodations at Einsiedeln:<br />
<br />
<blockquote class="tr_bq">
"Christmas was nice, and I enjoyed some desired peace and rest. Outside it looks much like Minnesota, with two feet of snow on the ground and crisp winter air, quite in contrast to November-December weather in Austria which could offer only fog, drizzle, snow and slush. In fairness I should add that the grand hospitality experienced everywhere in Austria, by the guestmaster, abbot and monks, helped considerably to offset the persistent miserable weather. My room here at Einsiedeln is warm, being centrally heated, but the huge church is completely unheated, and, brother, <i>it is a cold house of God</i>. The monks say all the Divine Office there. In Austria the Office was always said in some small room in the monastery; the big church was used only for Mass and Vespers on Sunday.<br />
<br />
"I will be here till Jan. 8 at least, but mail will be forwarded from here to my next address, in Austria, I hope. Incidentally, my command of German was a handy asset in Austria. Even my white hair, or what is left of them, helped to make a favorable impression."</blockquote>
<br />
<div style="text-align: center;">
------------------------------</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-m-iZMcKoVHc/Uuvf4C_rvhI/AAAAAAAAE68/Sskn5YDOW5A/s1600/Father%2BOliver%2B(Schottenstift).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-m-iZMcKoVHc/Uuvf4C_rvhI/AAAAAAAAE68/Sskn5YDOW5A/s1600/Father%2BOliver%2B%28Schottenstift%29.jpg" height="320" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver at the Schottenstift (Vienna, Austria) in the 1960's.</td></tr>
</tbody></table>
<br />
<br />
Next up: Putting the technology into place to start microfilming (January-March 1965).<br />
<br />
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com0tag:blogger.com,1999:blog-2100310334282304061.post-67909717448556533492014-12-29T12:05:00.002-08:002014-12-29T12:31:30.944-08:0050 Years Ago: "The Austrians are a most congenial and delightful people, everywhere"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qA73eTZpqYc/UsbtI7-EPJI/AAAAAAAAEvU/o-h9B04q5PU/s1600/IMG_8559.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-qA73eTZpqYc/UsbtI7-EPJI/AAAAAAAAEvU/o-h9B04q5PU/s1600/IMG_8559.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The library at Melk Abbey, Austria.</td></tr>
</tbody></table>
<br />
Since his last letter in early November 1964, Father Oliver Kapsner, OSB, had been on the road throughout Austria, staying only a few days in each location. By December 23, however, he had returned to the Abbey of Einsiedeln in Switzerland, where he had planned to spend the Christmas season. During his time on the road, Saint John's University had (perhaps prematurely?) announced the new project--the Monastic Manuscript Microfilm Project--in the press:<br />
<br />
<blockquote class="tr_bq">
"Dear Father Colman [Barry],<br />
Upon returning here [Einsiedeln] yesterday from a six-week journey through Austria, I found your letter of November 9 waiting for me, along with the news release enclosures. I had made Einsiedeln a center for assembling mail, as I was constantly on the move, 2 or 3 days in each place.<br />
Thanks to a highly successful trip, and surprisingly so, through Austria, the news release is now not disturbing, as it might have been, had the Austrian contact been a failure. All the 16 abbeys which I contacted have agreed through signed statements to join our microfilm project, this in spite of an earlier decision, in August, made a a meeting of the Austrian Abbots, not to join. Their decision was based on several objections sent in by librarians. Actually, I have not found a single Abbot who is opposed to the project. The difficulties always came from the librarian or archivist, four that I know of, all of whom I converted except one, at Admont. At Admont the Abbot (and his name is Coloman) through chapter action is overruling the librarian. Abbot Coloman also told me that if it had not been for my personal visit, the project would never have won approval in Austria. The weather was miserable throughout my Austrian journey, but hospitality was grand without exception. <i>The Austrians are a most congenial and delightful people, everywhere.</i>"</blockquote>
As a holder of a master's degree in library sciences, I can only say: <i>"those pesky librarians!</i>" Already in this earliest stage of the project that would become the Hill Museum & Manuscript Library, it was becoming clear how complex it would be to deal with other communities that have their own internal complexities. Through it all, Father Oliver would work tirelessly to assure everyone that the microfilming project offered benefits to all.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-UjDaR7Z1-p4/UGJtwBBEL9I/AAAAAAAABmU/9-Xxpc7JcmE/s1600/Ms.%2BFrag.%2B1%2B-%2Bverso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-UjDaR7Z1-p4/UGJtwBBEL9I/AAAAAAAABmU/9-Xxpc7JcmE/s1600/Ms.%2BFrag.%2B1%2B-%2Bverso.jpg" height="258" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fragment in the Saint John's Rare Books collection that was used as the backdrop for the announcement of the Monastic Manuscript Microfilm Project in the November 1964 Saint John's alumni magazine (the <i>Off-Campus Record</i>).</td></tr>
</tbody></table>
<br />
<br />
In his letter, Father Oliver summarizes the results of his trip: agreements with 10 Benedictine abbeys, 3 Cistercian abbeys and 3 abbeys of Augustinian canons. Now he must approach University Microfilms--the technology partner in the project--with a one-year proposal to move forward with the filming. He still has hopes for work in Switzerland (which was not to materialize for another 30 years, until after his death, unfortunately), but he is suspicious of suggestions that the project also use color photography for parts of the collections.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-h_AmwO7N3Gk/UwYlYnUxFjI/AAAAAAAAF18/IKSuqysUZ2s/s1600/image0007a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-h_AmwO7N3Gk/UwYlYnUxFjI/AAAAAAAAF18/IKSuqysUZ2s/s1600/image0007a.jpg" height="320" width="319" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB (center), with his replacement, Father Urban Steiner, OSB, <br />
at the Kodak offices in Vienna, Austria (1971).</td></tr>
</tbody></table>
<br />
He closes his letter:<br />
<br />
<blockquote class="tr_bq">
<i>"Frohe Weihnachten und ein Gesegnetes neues Jahr</i> especially in your new important office [i.e., as president of Saint John's University]. Please pray for me too. My survey trip is finished now, but it has been rugged during the fall and winter months and constant change of place and meals. I have grown three years older during the past three months, and am that much closer to that final important resting place up on the hillside. But I am still alive and kicking, and now getting a needed rest here at Einsiedeln, where winter is just as in Minnesota. I will be staying here till Epiphany, after which I have suggested to University Microfilms to meet their representative in Vienna for important business, if agreeable to them."</blockquote>
Indeed, Father Oliver often complained in his letters about advanced age and the physical difficulties of his work, but then he lived another 27 years after starting this project! Perhaps his Austrian work kept him young?<br />
<br />
In a follow-up letter from December 27, 1964, Father Oliver expands on his experience at Kremsmuenster Abbey, his feelings about color photography, and the situation at the Swiss abbeys. Also in that letter is a list of the Austrian monasteries that have agreed to join the project (in the order he listed them):<br />
<blockquote class="tr_bq">
Vienna. Schottenstift<br />
Klosterneuburg<br />
Heiligenkreuz<br />
Melk<br />
Lilienfeld<br />
Herzogenburg<br />
Goettweig<br />
Zwettl<br />
Seitenstetten<br />
Kremsmuenster<br />
St. Florian<br />
Lambach<br />
Salzburg. St. Peter<br />
Michaelbeuern<br />
Admont<br />
St. Paul in Carinthia (im Lavanttal)</blockquote>
He notes that, "These abbeys are rather conveniently located. The first 14 on the list lie on the 200-mile stretch from Vienna to Salzburg, 6 directly on the main railroad, the other 8 within 10 to 40 mi. off the main drag. Only Admont and St. Paul are out of the way. no wonder they used to say: Oesterreich, klosterreich."<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_eLrJerk__o/Ud2qqRG1HnI/AAAAAAAAE3I/u3IKtWT6mG4/s1600/Austrian003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-_eLrJerk__o/Ud2qqRG1HnI/AAAAAAAAE3I/u3IKtWT6mG4/s1600/Austrian003.jpg" height="313" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver with one of his microfilming team at Seitenstetten in 1965.</td></tr>
</tbody></table>
<br />
When we return to Father Oliver in January 2015, we will learn about the next phase of the project--getting the technology in place to start the actual microfilming.<br />
<br />
<br />
<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-36984475334733063172014-12-01T19:09:00.003-08:002014-12-01T19:09:41.038-08:0050 Years Ago: "Sie werden in Kremsmuenster anfangen."<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-W6slFRSxid4/VH0lz_HEe9I/AAAAAAAAGZQ/O6cnoIWx0qg/s1600/Plate01367.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wtjhVV8u5p4/Ud2qqaD-79I/AAAAAAAAC0k/zFrz2wuTTsc/s1600/Austrian002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-wtjhVV8u5p4/Ud2qqaD-79I/AAAAAAAAC0k/zFrz2wuTTsc/s1600/Austrian002.jpg" height="316" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In a slightly later photo, Father Oliver Kapsner, OSB, types a manuscript <br />
description on an inventory card to go on the microfilm.</td></tr>
</tbody></table>
<br />
We last visited with Father Oliver Kapsner, OSB, in Einsiedeln Abbey, Switzerland, where he was facing the prospect of an early return to the United States, with only very limited results to show for his travels to several European Benedictine monasteries. The hoped-for, bigger collections at Monte Cassino, Saint Gall and Einsiedeln refused his request to microfilm their precious manuscripts. He announced in a letter dated November 7, 1964, that he was about to embark on a five-week tour of Austrian monastic houses in hopes of finding some support there. So, exactly 50 years ago at this time (mid-November to mid-December 1964), Father Oliver was on the road. I have not yet found exact dates for his stops in Austria, so I don't have exact dates for the events described below. Suffice it to say that we are likely now (in December 2014) at the 50-year mark for the real "start" of the work in Austria! Here is <b>Father Oliver's account</b>, as he himself recounted the events. This account later appeared in two different publications (<i>Scriptorium</i>, vol. 25, 1986, and <i>A Sense of Place</i>, vol. 2):<br />
<br /><a href="http://cdm.csbsju.edu/cdm/ref/collection/SJUArchives/id/28006">1986-12 Scriptorium Volume 25 Christmas 090</a>
<br />
<br />
<blockquote class="tr_bq">
"My first stop in Austria was at Saint
Peter’s Archabbey in Salzburg. The abbot was most gracious and felt
favorably inclined towards our project but hinted that not all Austrian
abbeys felt the same way. In fact, he said that two abbeys had
telephoned him to inform me that I need not come there at all. But he
signed a written agreement to indicate his willingness. Lambach Abbey
was the next stop. There the abbot had just been deposed, and there was
no librarian; hence, not much could be accomplished." </blockquote>
<br />
<blockquote class="tr_bq">
"The next stop was <a href="http://en.wikipedia.org/wiki/Kremsm%C3%BCnster_Abbey" target="_blank">Kremsmünster Abbey</a>. When I arrived, the porter immediately told me that the abbot wanted to speak to me on the phone, whereupon I was set for the next treat of bad news. But his first words on the phone were: Willkommen in Kremsmünster. Sie werden in Kremsmünster anfangen (“Welcome to Kremsmünster. You will begin your work here”). Brother, what a day that was for me, to hear such good news with my own ears. The abbot, Albert Bruckmayr, was newly elected four months previously. In Rome he had been a classmate of Fr. Vitus Bucher. He said that after all that Saint John’s had done for them during the hard years after World War II, it just would not be right to turn Saint John’s down now. Here I also learned that during the general chapter of the Austrian Benedictine Congregation in the summer of 1964, Abbot Baldwin’s offer was considered and was turned down. Ironically, the instigator for this unfavorable decision was the librarian from Kremsmünster, who had recently attended a convention in Munich where the director of the mighty Bayerische Staatsbibliothek had thundered against fulfilling requests coming from other countries to photograph whole portions of their manuscript collections. So the assembled Austrian abbots simply said that if the librarians don’t want it, that’s it. Ever so fortunately, the aged abbot president of the Austrian Congregation neglected to inform Abbot Baldwin of this decision. If he had done so, I would not have left for Europe." <br />
<br />
"When Abbot Albert informed their librarian of his decision to let us begin our work at Kremsmünster, the librarian turned about completely and was totally cooperative. He even went out of his way to improve the reading of the agreement which I was presenting for signing, making a few minor modifications, and rendering the German more elegant. He then also duplicated enough copies for my use during the rest of my trip. Next, he asked why we planned to contact only Benedictine monasteries in Austria? Why not also the Austrian Cistercian, Augustinian, and Premonstratensian abbeys? I told him that I had no objection whatever if that would be arranged. So the next day he himself accompanied me to Sankt Florian, a famous Augustinian abbey thirty miles away that possessed an excellent manuscript collection. And a contract was signed at Sankt Florian."</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-6H5Y9pSKMYo/VH0khcCka0I/AAAAAAAAGZI/1gAceCBjVX4/s1600/microfilm_camera.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-6H5Y9pSKMYo/VH0khcCka0I/AAAAAAAAGZI/1gAceCBjVX4/s1600/microfilm_camera.jpg" height="320" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Undated photo of a microfilm camera, probably taken at Saint John's University.</td></tr>
</tbody></table>
<br />
<blockquote class="tr_bq">
"The sky was beginning to clear before me. Three monasteries had signed the agreement. Now negotiations were considerably easier. First, Michaelbeuern signed, then Seitenstetten, then Melk, then Göttweig (the abbot of Göttweig was also the new administrator of Lambach, so he signed for Lambach). From Göttweig the Cistercian abbey of Zwettl lay to the north, and another Cistercian abbey, Lilienfeld, to the south, both of which signed. I met a Cistercian monk at Lambach who also encouraged me to visit the Cistercian abbeys in Austria, gave me their names, locations, and directions for reaching them conveniently on my visitation tour of the Benedictine abbeys. Then I was off to Schottenstift in Vienna, which signed the agreement. There too the librarian was most gracious to me. One day he accompanied me to Klosterneuburg of Augustinian canons ten miles north of Vienna, which signed the agreement."<br />
<br />
"The following day he accompanied me to the Cistercian abbey of Heiligenkreuz, twenty miles south of Vienna, which signed. Only here the abbot, who had a reputation as a stickler, required that I obtain a letter for him from my abbot showing that I was duly authorized to do this work. The Austrian Benedictine abbots had all received such notification beforehand. From Vienna I went way down to the Benedictine Abbey of Saint Paul in Lavanttal in Kärnten. At first, the abbot hesitated but then did sign the agreement." <br />
<br />
"Then came my last stop, Admont, where the librarian was vehemently opposed to our project. The kind abbot called a meeting of the Small Chapter to which I was invited to explain our offer. The meeting ended with the signing of the agreement."<br />
<br />
"Now I could return to Einsiedeln on December 20 to relax a bit and to enjoy Christmas. What a Christmas gift I had in my bag: fifteen Austrian abbeys had signed the agreement: ten Benedictine, three Cistercian, two Augustinian. and the big break had come when least expected."</blockquote>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-W6slFRSxid4/VH0lz_HEe9I/AAAAAAAAGZQ/O6cnoIWx0qg/s1600/Plate01367.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-W6slFRSxid4/VH0lz_HEe9I/AAAAAAAAGZQ/O6cnoIWx0qg/s1600/Plate01367.jpg" height="321" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bookplate in the Saint John's University bookplate collection, showing the interior of the <br />
Kremsmuenster Abbey Library, from about the year 1899.</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
------------------------------------------------------------------------------------------</div>
<br />
<br />
<br />
<br />
When we next return to hear more from Father Oliver, he will be back at Einsiedeln for a Christmas break! In the coming months I hope to return occasionally to his story with posts on the preparations to start the microfilming in January-March 1965 and the start-up of the microfilming in April 1965.<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com2tag:blogger.com,1999:blog-2100310334282304061.post-60004735923835821172014-11-19T11:57:00.000-08:002014-11-19T12:03:27.198-08:0050 years ago: "The Project has probably been rushed too much already"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-MvdisghwpqU/VGzghfOXDvI/AAAAAAAAGMY/jPsLzIn4Wzs/s1600/Star1964.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-MvdisghwpqU/VGzghfOXDvI/AAAAAAAAGMY/jPsLzIn4Wzs/s1600/Star1964.jpg" height="147" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Front page of the Minneapolis Star for October 29, 1964.</td></tr>
</tbody></table>
<br />
<br />
<br />
<i>Things could hardly have looked worse.</i><br />
<br />
Father Oliver Kapsner, OSB, had only been in Europe for about a week and a half, and nearly all of his news for his boss about the nascent Monastic Manuscript Microfilm Project was bad:<br />
<blockquote class="tr_bq">
"Here is my first report, unfortunately not favorable. My experience at Monte Cassino is very disappointing, since after one week I am getting nowhere with the archivist (Tommaso Leccisotti). The two big obstacles are: no lay technician allowed in the monastery, and a long term (one year) in the archives cannot be allowed. A complete report is being sent to the Abbot. Needless to say, there should be no news release about the microfilm project at present, probably not for some time. The project has probably been rushed too much already." (letter to Father Colman Barry, OSB; October 12, 1964)</blockquote>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-YzH3W2rDK00/VGzwMjF0-tI/AAAAAAAAGNk/1Ogc81Jl9iA/s1600/IMG_6552.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-YzH3W2rDK00/VGzwMjF0-tI/AAAAAAAAGNk/1Ogc81Jl9iA/s1600/IMG_6552.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Monte Cassino Abbey (author's photograph, June 2010).</td></tr>
</tbody></table>
<br />
Father Oliver had arrived from the United States in the first week of October, 1964, with the high hopes of making photographic copies of Benedictine manuscripts at some of the most famous abbeys in Italy, Switzerland and Austria. As the month of October progressed, however, he enjoyed only smaller victories: arrangements with Benedictine abbeys in Cava, Subiaco, and Montevergine, where the manuscripts would be filmed by staff at each abbey, not through a team led by Father Oliver. Then came his trip to Switzerland, where he had received enthusiastic support from at least one abbot:<br />
<blockquote class="tr_bq">
"The big disappointment is here at Einsiedeln. At a meeting in September the Swiss Benedictine librarians discussed our proposal and decided not to go along. This decision was not known to Abbot Tschudi of Einsiedeln when I interviewed him in Rome and found him favorably disposed. Ergo stat difficultas. It will probably take a year or two of diplomatic negotiating to iron out this knotty problem. At any rate, there is no chance whatever for me to start microfilming at Einsiedeln now. Outdoors it is snowing." (letter to Father Colman Barry, OSB; November 3, 1964)</blockquote>
<br />
Unfortunately for Father Oliver (and unbeknownst to him), back in Collegeville (Minnesota) the publicity department at Saint John's University had already announced the success of the microfilming project! The resulting acclaim pouring into the campus must have shaken him when he learned of it.<br />
<br />
<i>Fifty years ago, it appeared that his ambitious project to microfilm medieval manuscripts had ended even before it had begun.</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-CsFxNDLbalg/VGzI7JdnIPI/AAAAAAAAGKo/vZXRMn35yUc/s1600/April_1964c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-CsFxNDLbalg/VGzI7JdnIPI/AAAAAAAAGKo/vZXRMn35yUc/s1600/April_1964c.jpg" height="400" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">April 1964 prospectus for the new abbey and university library.<br /> (<i>special thanks to <b>Peggy Roske</b> from Saint John's University Archives <br />for the use of this and other images from the library prospectuses!!</i>)</td></tr>
</tbody></table>
<br />
1964 had already been a busy year for the world, so the news from Saint John's seemed rather minor within its context. There was a major presidential election underway (Lyndon Johnson versus Barry Goldwater), U.S. warships had been fired upon in the Gulf of Tonkin, the Civil Rights Act of 1964 was passed after a 75-day filibuster, Dr. Martin Luther King, Jr., won the Nobel Prize for Peace, and a certain English band had "invaded" the music scene in the United States (with five songs in the top five one week). Modernist architecture was also "invading" Collegeville.<br />
<br />
The early 1960's were indeed a time of profound change on the campus at Saint John's University. In 1962 the new Abbey church with its famous bell banner had opened. Its architect, Marcel Breuer, had proposed several additional buildings on the campus, including a science center and--as the heart of the intellectual life--the university library. In late 1963 and early 1964, the focus of the abbot and university president had turned to promoting the construction of this library. No mere repository for books, the library had its own program expressed through four areas of special collections and cultural and intellectual exchange:<br />
<br />
<blockquote class="tr_bq">
1. The Kritzeck Collection of manuscripts from famous rulers, popes and saints;<br />
2. The Monastic Manuscript Microfilm Project (today's "HMML");<br />
3. The Virgil Michel Liturgical Institute;<br />
4. The Ecumenical Study Center (with offices in the new library).</blockquote>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-JlfxW3o1_WQ/VGzPWJlE02I/AAAAAAAAGLM/4zeFnalErcQ/s1600/April_1964a1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-JlfxW3o1_WQ/VGzPWJlE02I/AAAAAAAAGLM/4zeFnalErcQ/s1600/April_1964a1.jpg" height="257" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Prospectus for the new library from April 1964. Saint John's University Archives.</td></tr>
</tbody></table>
<div style="text-align: left;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
So it is that the new Monastic Microfilm Project had been announced as one part of this program, even before Father Oliver had been approached about leading it. Indeed, the earliest internal document I have been able to find from our early history is a note dated May 1963 from Paulin (Father Michael Blecker, OSB) to Father Colman Barry, OSB. The latter was soon to be named university president, and it is during his tenure that numerous initiatives were launched at Saint John's: the microfilm project (today's "HMML"), the Ecumenical Institute (today's Collegeville Institute), and one of the first radio stations in Minnesota Public Radio.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-2yotime1jy0/VGz0p200UKI/AAAAAAAAGOI/nDkBJqI8fVM/s1600/NEH-1980-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-2yotime1jy0/VGz0p200UKI/AAAAAAAAGOI/nDkBJqI8fVM/s1600/NEH-1980-1.jpg" height="267" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A much later picture of Father Michael Blecker, OSB (third from right), visiting the offices of the National Endowment for the Humanities, with Julian G. Plante (HMML director) and Mrs. Joan Mondale (May 16, 1980).</td></tr>
</tbody></table>
<br />
<br />
As these brochures and Father Michael's letter show, however, the plan had been in discussion for a while before Father Oliver came on board.<br />
<br />
In early 1964, Father Colman approached Oliver to lead the project, to which the latter replied:<br />
<blockquote class="tr_bq">
"Next comes the question whether I am the right person to direct the project. I would like to think that I am. While it is true that my name is attached to some published works and that I know German, which should be useful for making contacts with the German and Austrian abbeys, it is also true that I am not at all a paleographer. Printed books have been my sole interest for some thirty years in library work. I would have to begin to study paleography in order to do justice to the cause at all, since this project will be concerned mainly, perhaps entirely, with older manuscripts." (Father Oliver to Father Colman, February 15, 1964)</blockquote>
Father Oliver also refers to some of the groundwork that had already been done by Father Colman: contacting a half-dozen abbeys in the autumn of 1963 to enlist their support:<br />
<blockquote class="tr_bq">
“After all, we are also out to save what these abbeys have, for with the frightful destructive weapons in the hand of amoral man today, they could almost all be wiped out in a matter of minutes.” (ibid.)</blockquote>
Even the Abbot Primate in Rome, Benno Gut, had written a letter of support in December 1963:<br />
<br />
“To the Right Reverend Abbots and the Reverend Father
Librarians and Archivists.<br />
<blockquote class="tr_bq">
I would like to endorse with full approval the project to
microfilm and preserve intact in one corpus of documents our monastic
manuscripts. This commendable and farseeing undertaking will be of major
service to the world of scholarship, and is at the same time in the best
tradition of monastic research and joint cooperation of our monastic family. In
the same way as the manuscripts of the Vatican Library were collected on
microfilm copies some years ago, we now have the opportunity of making filmed
copies of our manuscript heritage. ... It is a pleasure to commend and bless this important
work which we are about to begin.” (Abbot Primate Benno Gut, Rome; December 1, 1963)</blockquote>
As one might expect, creating such a large project with no structure in place required a lot of networking, letter writing and interviews. As we saw above, some of this work already began in 1963, but much of it had to be done over the first several months of 1964. Respected scholars with requisite knowledge of the collections--like George Fowler, Giles Constable, Herbert Bloch, and Stephan Kuttner--were approached both for their suggestions and for their broader support. Charitable groups--in particular, the Knights of Columbus and the Hill Family Foundation--were approached for tentative funding. And, of course, technical support for microfilm cameras, supplies, developing, etc. had to be lined up (especially through University Microfilms, Inc.).<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-S2_amO64qGg/VGzX9Uh1kAI/AAAAAAAAGLg/izHxmP-bf1o/s1600/George%2BFowler.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-S2_amO64qGg/VGzX9Uh1kAI/AAAAAAAAGLg/izHxmP-bf1o/s1600/George%2BFowler.jpg" height="400" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">George Fowler giving a lecture at Saint John's University in the late 1960's or early 1970's.</td></tr>
</tbody></table>
<br />
<br />
The original conception of the project--as one of a set of programs for the new library--meant that it was rather limited in scope. The earliest discussions focused entirely on collections at Benedictine houses in Italy, Switzerland and Austria. It took time for HMML's open-ended preservation program to develop. Indeed, several suggestions from scholars became working principles for the microfilming project (and continue to guide our work). George Fowler recommended filming entire collections and not just selections, as well as working with other religious orders besides the Benedictines, such as the Franciscans, Dominicans, and Augustinians. Giles Constable urged the new project to include a provision for making copies of the microfilms for scholars, so that they could be used outside of Collegeville.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_CfkxboNtaM/VGzI67z3gZI/AAAAAAAAGKk/L_uUWG5VBPc/s1600/1964_brochure.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-_CfkxboNtaM/VGzI67z3gZI/AAAAAAAAGKk/L_uUWG5VBPc/s1600/1964_brochure.jpg" height="286" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Library prospectus from 1963 or early 1964: one of the earliest mentions of the proposed <br />
Monastic Microfilm Project (today's HMML). Saint John's University Archives.</td></tr>
</tbody></table>
<br />
Father Oliver arranged for technical support through meetings with staff from University Microfilms, and here he found one of his stronger allies in the task: Mr. Eugene Power. Such support was necessary to prepare for logistical support, as well as for preparing estimates of the cost. The initial impression of UMI was not promising, however:<br />
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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<blockquote class="tr_bq">
“It is a commercial firm all right, not too sure whether they can be of help to us, you see--ice-cold American business tactics.” (Father Oliver to Father Colman; March 20, 1964)</blockquote>
But when Father Oliver finally met with Eugene Power, he found a man who fully supported the project and who went to great personal lengths to see that it got started when the time came.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-0mchhnN8lVc/VGzbs7lto8I/AAAAAAAAGLw/0IBURHb3EIE/s1600/image0015.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-0mchhnN8lVc/VGzbs7lto8I/AAAAAAAAGLw/0IBURHb3EIE/s1600/image0015.jpg" height="400" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eugene Power and Father Oliver Kapsner, OSB, in Austria.</td></tr>
</tbody></table>
<br />
Meanwhile, Father Colman worked on the funding for the project. While funding came from numerous sources, the largest by far was a grant of $40,000 from the the Hill Family Foundation (today, the Northwest Area Foundation) of St. Paul, Minnesota. In a letter to the president of the foundation, Father Colman waxed enthusiastic:<br />
<blockquote class="tr_bq">
“I want to tell you this morning also that Father Oliver Kapsner, who is directing the monastic microfilming project which the Hill Family Foundation has got underway with its wonderful grant, will be leaving for Europe this Friday. He will go directly to Monte Cassino Archabbey to get acquainted and to prepare the way for the arrival of Mr. Power, the director of University Microfilm, Incorporated in Ann Arbor, Michigan, who will then come to help in the microfilming process.” (Father Colman to Al Heckman; September 29, 1964)</blockquote>
Thus it was, that Father Oliver arrived in Italy with great expectations. However, after a month of traveling from abbey to abbey in Italy and Switzerland, his results were slight and his prospects dim. In a letter dated November 7, 1964 (almost exactly 50 years ago), to his fellow librarian, Father Benjamin Stein, OSB, he expressed his mixed feelings of frustration and guarded hope for ultimate success:<br />
<blockquote class="tr_bq">
"Your letter sent to Monte Cassino was forwarded to Einsiedeln where it was handed to me an hour before I left there two days ago. The next five weeks I will be spending on the road, visiting ten Austrian abbeys in order to sound them out on our microfilm project. Then I will return to Einsiedeln (address over), about the middle of December, uncertain what the next move will be, perhaps back to the States, to resume the approach next year. Things move very slowly in these European monasteries. They have their firm traditions, feel thoroughly justified in their viewpoints and are much attached to them, hard and slow to change, if at all. The personal contacts which I am making had to be made some time before we can think of moving in to microfilm their manuscripts. The matter has to be considered first at a meeting of the monastic librarians and then submitted to a meeting of the abbots. Such red tape will obviously take some time. In the end we may succeed. I gather that the Swiss abbots are favorably inclined, whereas the librarians have expressed opposition to our plans. <i> Videbimus</i>. In Italy I had partial success (Subiaco, Cava, Montevergine), though Monte Cassino has to wait. We must take a long-range view of this vast undertaking." (Father Oliver to Father Benjamin Stein; November 7, 1964)</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Hxs22m6N3rk/VGzghjkHxNI/AAAAAAAAGMc/kb15ibF4Y6I/s1600/Visitor1964.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Hxs22m6N3rk/VGzghjkHxNI/AAAAAAAAGMc/kb15ibF4Y6I/s1600/Visitor1964.jpg" height="400" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saint Cloud Visitor (diocesan newspaper) from 1964</td></tr>
</tbody></table>
<br />
At this point, our record of Father Oliver's correspondence breaks off until December 23, 1964. The HMML files do not appear to harbor any signs of Father Oliver's work during the five weeks he was in Austria. Of course, this also corresponds exactly to the time--fifty years later--that I am reconstructing the "pre-history" of HMML's work. The Hill Museum & Manuscript Library has traditionally dated its start to April 1965 and the beginning of actual microfilming in Kremsmünster Abbey in Austria. Yet, as we have seen, the actual start of work was preceded by at least two periods of our "pre-history":<br />
<br />
<ol>
<li>the years leading up to September 1964, when members of the Saint John's monastic community--such as Michael Blecker, OSB, Colman Barry, OSB, Benjamin Stein, OSB, Baldwin Dworschak, OSB, Oliver Kapsner, OSB, and many others--developed the contacts and lines of communication with other abbeys, funding sources, scholarly sources, and technical support; and,</li>
<li>the months of October to December 1964 when Father Oliver tried to get the program off the ground in Italy, Switzerland and Austria.</li>
</ol>
<br />
Today's article has focused primarily on the first of these two periods, while wading into the early days of the second period--when the project's outlook seemed somewhat hopeless. Exactly fifty years ago this month, the whole microfilming project stood at a critical juncture:<br />
<br />
<blockquote class="tr_bq">
Would this grand scheme even come into existence? <br />
<br />
Or would it die an ignominious (and premature) death? </blockquote>
<br />
It no doubt irked Father Oliver that the publicists back at Saint John's continued to announce the project's success!<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-SKJ3KQz9uUw/VGztihcBTUI/AAAAAAAAGNA/ZpRx0gxP5lo/s1600/196411_SJU_Alumni_Magazine_Volume_04_Number_04_November_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-SKJ3KQz9uUw/VGztihcBTUI/AAAAAAAAGNA/ZpRx0gxP5lo/s1600/196411_SJU_Alumni_Magazine_Volume_04_Number_04_November_01.jpg" height="400" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>Off-Campus Record </i>(alumni magazine for Saint John's University) <br />
from November 1964. Saint John's University Archives.</td></tr>
</tbody></table>
<div style="text-align: center;">
(Read the full article from the <i>Off-Campus Record </i>in Vivarium: <br />
<a href="http://cdm.csbsju.edu/cdm/ref/collection/SJUArchives/id/995">http://cdm.csbsju.edu/cdm/ref/collection/SJUArchives/id/995</a>)</div>
<br />
<br />
<div style="text-align: center;">
* * *</div>
<br />
<br />
<i>In a future post, I will look at what was happening during those critical five weeks, fifty years ago!</i><br />
<br />
<br />
<blockquote class="tr_bq">
Until then, peace!<br />
<br />
Matt Heintzelman</blockquote>
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com0tag:blogger.com,1999:blog-2100310334282304061.post-57032486905950325662014-10-10T11:26:00.003-07:002014-10-10T11:26:16.574-07:00What HMML Did During (everyone else's) Summer Vacation<h2>
A brief photographic history of the summer of 2014 at the Hill Museum & Manuscript Library</h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-oWB8l80zji4/VDcWIZYfuTI/AAAAAAAAGC4/1Rvse-aJDm8/s1600/IMG_9685b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-oWB8l80zji4/VDcWIZYfuTI/AAAAAAAAGC4/1Rvse-aJDm8/s1600/IMG_9685b.jpg" height="285" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Did you ever feel that you were not quite welcome somewhere?</td></tr>
</tbody></table>
<br />
As we at the <b>Hill Museum & Manuscript Library</b> have announced through numerous avenues, we are back in our now renovated space--and loving it. We now have one of the nicest classrooms on campus (<i>ok, so we think it <b>is </b>the nicest</i>), a dedicated conference room, a comfortable and beautiful reading room, modern offices (most with windows), a refrigerator with an ice dispenser, and places to display rare books, manuscripts and works of art, not to mention new HVAC, improved fire-suppression equipment, and better environmental controls for the microfilm vault..<br />
<br />
How did we get to this point? Below I offer a photographic overview of our development from early May to early September. These are but one set of photos from the work. Several staff members took photos and videos of the process. Here I offer only my own photographs. The HMML website (<a href="http://www.hmml.org/">www.hmml.org</a>) has more information and photos of the new space.<br />
<br />
Our thanks, again, to the friendly staff at Alcuin Library, where we spent a lovely summer in the basement! Actually, in the space where our Library had its first offices back in the years from 1965 to 1975--but then, that was the subject of a previous post in this blog.<br />
<br />
Finally, one item in our summer story that did not make it into the account below was a minor flood in one of the reference areas in late June. Fortunately, the leak did not affect any of the rare materials at HMML, and indeed did not even reach any of HMML's own reference collection. About a half-dozen books in a related collection (the Arca Artium Reference Collection) were damaged and several boxes had to be moved. However, in the end, we are blessed that no other damage to the collections occurred during construction!<br />
<br />
<i>So here is a chronological overview of our summer:</i><br />
<br />
<br />
<div style="text-align: center;">
<span style="font-size: large;">* * *</span><br />
</div>
<br />
<h3>
<b>May 6, 2014</b> -- the last day for visitors; packing up the Saint John's Bible</h3>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ZQ2KNEiTtuo/VC4bMqBQ3II/AAAAAAAAF_w/Ao9aIFafKGM/s1600/IMG_5377.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-ZQ2KNEiTtuo/VC4bMqBQ3II/AAAAAAAAF_w/Ao9aIFafKGM/s1600/IMG_5377.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A certain empty feeling came over us.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-USegBu77G4I/VC4bMA3JRZI/AAAAAAAAF_k/H_QsfR1QOXM/s1600/IMG_5378.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-USegBu77G4I/VC4bMA3JRZI/AAAAAAAAF_k/H_QsfR1QOXM/s1600/IMG_5378.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All of that knowledge ... gone in a day (or so).</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8rqjQKmScOw/VC4bNKLqU6I/AAAAAAAAF_0/OSEJMvfRwBM/s1600/IMG_9495.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-8rqjQKmScOw/VC4bNKLqU6I/AAAAAAAAF_0/OSEJMvfRwBM/s1600/IMG_9495.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tim Ternes packs up the display cases.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-8Q8r9voZGn8/VC4bUyQ06uI/AAAAAAAAGAM/9fobnJrKL7U/s1600/IMG_9505.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-8Q8r9voZGn8/VC4bUyQ06uI/AAAAAAAAGAM/9fobnJrKL7U/s1600/IMG_9505.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wrapping up for the move.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-y3Chi20q3Xo/VDb77Jwq0gI/AAAAAAAAGAc/dUd6uZYngvQ/s1600/IMG_9507.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-y3Chi20q3Xo/VDb77Jwq0gI/AAAAAAAAGAc/dUd6uZYngvQ/s1600/IMG_9507.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One more class presentation - Students visiting from Mayville State University in North Dakota.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qD9WduAHMNY/VDb7_rd_KBI/AAAAAAAAGAk/kxq-nv34B_M/s1600/IMG_9509.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-qD9WduAHMNY/VDb7_rd_KBI/AAAAAAAAGAk/kxq-nv34B_M/s1600/IMG_9509.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final tour of the Saint John's Bible gallery in the old HMML space.</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: large;">* * *</span><br />
</div>
<br />
<h3>
<b>May 13, 2014</b> -- That empty feeling</h3>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-0kIUwRSNai4/VDb8JXn7JDI/AAAAAAAAGAs/_BNaKwkcxAw/s1600/IMG_9500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-0kIUwRSNai4/VDb8JXn7JDI/AAAAAAAAGAs/_BNaKwkcxAw/s1600/IMG_9500.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Funny, I think there used to be a giftshop here.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-FGB2Di6Tiok/VDb8M6hwkfI/AAAAAAAAGA0/nH_p1qqpCpM/s1600/IMG_9497.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-FGB2Di6Tiok/VDb8M6hwkfI/AAAAAAAAGA0/nH_p1qqpCpM/s1600/IMG_9497.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nothing left but the clothes hanger.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody></tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-rpd2P_zPE7s/VDb8nsxGBrI/AAAAAAAAGA8/KKnSG2BscJM/s1600/IMG_9562.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-rpd2P_zPE7s/VDb8nsxGBrI/AAAAAAAAGA8/KKnSG2BscJM/s1600/IMG_9562.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No more desks or furniture. The empty Bible gallery in the background.</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-FDYIY6z6eHw/VDb8op90jCI/AAAAAAAAGBE/UNh7ROdmSUs/s1600/IMG_9564.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-FDYIY6z6eHw/VDb8op90jCI/AAAAAAAAGBE/UNh7ROdmSUs/s1600/IMG_9564.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Well, now we know where the 40-year-old carpet went.</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Snhpyxvu5xY/VDb8q_XlXfI/AAAAAAAAGBM/Htzc0plRZYM/s1600/IMG_9567.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Snhpyxvu5xY/VDb8q_XlXfI/AAAAAAAAGBM/Htzc0plRZYM/s1600/IMG_9567.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still moving things out.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-hshnbvLqXNU/VDb8ubLUMPI/AAAAAAAAGBU/DnHR3V1iL10/s1600/IMG_9570.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-hshnbvLqXNU/VDb8ubLUMPI/AAAAAAAAGBU/DnHR3V1iL10/s1600/IMG_9570.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My desk used to be at the far right of the space in the back. All of the carrel walls have disappeared.</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-BLYjw2rjOMg/VDcVmRIoqUI/AAAAAAAAGCA/rd9aZkzlXNQ/s1600/IMG_9571.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-BLYjw2rjOMg/VDcVmRIoqUI/AAAAAAAAGCA/rd9aZkzlXNQ/s1600/IMG_9571.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Even the basement (yes, our basement library has its own basement) is looking emptier.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-U73JNdNVkdo/VDb8wYcSfNI/AAAAAAAAGBk/yDg3FoWkykM/s1600/IMG_9580.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-U73JNdNVkdo/VDb8wYcSfNI/AAAAAAAAGBk/yDg3FoWkykM/s1600/IMG_9580.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Where'd everybody go?</td></tr>
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<span style="font-size: large;">* * *</span><br />
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<h3>
<b>May 21, 2014</b> -- That even emptier feeling</h3>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-FxW88b1o6Yg/VDcV-Oyc2_I/AAAAAAAAGCQ/-vziULgUaaI/s1600/IMG_9668.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-FxW88b1o6Yg/VDcV-Oyc2_I/AAAAAAAAGCQ/-vziULgUaaI/s1600/IMG_9668.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's official: the dumpster is here.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-7ka2177OTZg/VDcWFf8ZQxI/AAAAAAAAGCY/Mcrn7pVPP8g/s1600/IMG_9672.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-7ka2177OTZg/VDcWFf8ZQxI/AAAAAAAAGCY/Mcrn7pVPP8g/s1600/IMG_9672.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Time for tools--in the former giftshop area.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-GjBC5EEWcLA/VDcWGLY6cnI/AAAAAAAAGCg/XzNbka_iNos/s1600/IMG_9675.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-GjBC5EEWcLA/VDcWGLY6cnI/AAAAAAAAGCg/XzNbka_iNos/s1600/IMG_9675.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The front office--once the hub of much activity.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-0RCWlbH1hMw/VDcWG52KkWI/AAAAAAAAGCo/vcvY2cVOBk0/s1600/IMG_9676.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-0RCWlbH1hMw/VDcWG52KkWI/AAAAAAAAGCo/vcvY2cVOBk0/s1600/IMG_9676.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">At least the carpet is still here. But where are the ceiling tiles and lights?</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-5hZro3MEMZE/VDcWHnrHsJI/AAAAAAAAGCw/vhVlmPMWkow/s1600/IMG_9677.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-5hZro3MEMZE/VDcWHnrHsJI/AAAAAAAAGCw/vhVlmPMWkow/s1600/IMG_9677.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">More tools.</td></tr>
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<h3>
May 29, 2014 -- Looks quiet ... at least on the outside</h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-r7YZFu97SCs/VDgZ_hCQ7FI/AAAAAAAAGGs/uBPGl1Av8GY/s1600/IMG_5569.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-r7YZFu97SCs/VDgZ_hCQ7FI/AAAAAAAAGGs/uBPGl1Av8GY/s1600/IMG_5569.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">OK, I know I did not have anything <i>that </i>heavy in my office.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-X3l2rnen9N4/VDgaB0y6-UI/AAAAAAAAGG0/_RHa3XQ29Wc/s1600/IMG_5570.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-X3l2rnen9N4/VDgaB0y6-UI/AAAAAAAAGG0/_RHa3XQ29Wc/s1600/IMG_5570.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kinda looks like a construction site to me.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-gkFVLG97yeA/VDgaJKRszCI/AAAAAAAAGG8/rgDF4qwaVt4/s1600/IMG_5572.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-gkFVLG97yeA/VDgaJKRszCI/AAAAAAAAGG8/rgDF4qwaVt4/s1600/IMG_5572.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bits and pieces of the HMML that won't return. Souvenirs, anyone?</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xv-SoUMZjqo/VDgaNopqZZI/AAAAAAAAGHE/HeabDgv9_PM/s1600/IMG_5575.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-xv-SoUMZjqo/VDgaNopqZZI/AAAAAAAAGHE/HeabDgv9_PM/s1600/IMG_5575.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No, really, one side of the library is now on Abbey Road. Not only that, we have a real, <br />active Abbey at the end of the road!</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-IkRNERsQNZU/VDgaRqzoUcI/AAAAAAAAGHM/dMMGH8BNt3I/s1600/IMG_5576.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-IkRNERsQNZU/VDgaRqzoUcI/AAAAAAAAGHM/dMMGH8BNt3I/s1600/IMG_5576.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">So serene above, not so much under the sod.</td></tr>
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<h3>
June 10, 2014 -- Hard hat? Hard hat? I never even <i>liked </i>wearing hats ...</h3>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-cHZ2MAnuPy0/VDgadgiFkAI/AAAAAAAAGHk/vzjdG_agi6A/s1600/IMG_5697.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-cHZ2MAnuPy0/VDgadgiFkAI/AAAAAAAAGHk/vzjdG_agi6A/s1600/IMG_5697.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ah, what a warm welcome.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-frRoJ5-BvgQ/VDgadjGO1ZI/AAAAAAAAGHg/eo6mv_7nBxE/s1600/IMG_5698.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-frRoJ5-BvgQ/VDgadjGO1ZI/AAAAAAAAGHg/eo6mv_7nBxE/s1600/IMG_5698.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wait a minute! Is that a <i>wall </i>coming into being?</td></tr>
</tbody></table>
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<div style="text-align: center;">
<span style="font-size: large;">* * *</span><br />
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<h3>
July 8, 2014 -- A tour! A tour!</h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-0V4KCsFG3cg/VDgakafua_I/AAAAAAAAGH0/DF-oclaVtf0/s1600/IMG_5873.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-0V4KCsFG3cg/VDgakafua_I/AAAAAAAAGH0/DF-oclaVtf0/s1600/IMG_5873.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Director directs. Father Columba Stewart, OSB, gives us a sneak peek at the future!</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-VXiG8OlpwME/VDgalatBUqI/AAAAAAAAGH8/8Ug2wrqBRQM/s1600/IMG_5874.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-VXiG8OlpwME/VDgalatBUqI/AAAAAAAAGH8/8Ug2wrqBRQM/s1600/IMG_5874.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The professional photographer leaps into action. Wayne Torborg in action.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Xo2JtcDU80E/VDgavBoCtmI/AAAAAAAAGIE/oK_kv1A0P0E/s1600/IMG_5875.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Xo2JtcDU80E/VDgavBoCtmI/AAAAAAAAGIE/oK_kv1A0P0E/s1600/IMG_5875.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The worksite takes on a little more shape.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-T8lfFv6n4VA/VDgawLrDqPI/AAAAAAAAGIM/E0QGhKWIWFw/s1600/IMG_5878.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-T8lfFv6n4VA/VDgawLrDqPI/AAAAAAAAGIM/E0QGhKWIWFw/s1600/IMG_5878.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Staff in the soon-to-be HMML reading room.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wQJq6goVKYc/VDgazPkEi8I/AAAAAAAAGIU/heiR0_uaCqw/s1600/IMG_5880.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-wQJq6goVKYc/VDgazPkEi8I/AAAAAAAAGIU/heiR0_uaCqw/s1600/IMG_5880.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Soon (but not too soon) to be filled with books!</td></tr>
</tbody></table>
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<span style="font-size: large;">* * *</span><br />
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<h3>
<b>July 30, 2014</b> -- Something is going on here</h3>
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<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-lC3ksNkWnn4/VDcYZo3A2RI/AAAAAAAAGDk/wwFQ8nkNiJY/s1600/IMG_5919.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-lC3ksNkWnn4/VDcYZo3A2RI/AAAAAAAAGDk/wwFQ8nkNiJY/s1600/IMG_5919.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New walls going in.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-LaFJh2uhkSs/VDcYwhnxkrI/AAAAAAAAGEA/ywtbfBcxwGs/s1600/IMG_5920.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-LaFJh2uhkSs/VDcYwhnxkrI/AAAAAAAAGEA/ywtbfBcxwGs/s1600/IMG_5920.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kinda looks like someone's been working here.</td></tr>
</tbody></table>
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<span style="font-size: large;">* * *</span><br />
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<h3>
<b>August 22, 2014</b> -- Moving and Re-Moving; or, What Goes Out Must Go Back In</h3>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-038YS6IB-H8/VDcm7C5dpII/AAAAAAAAGEU/oSxH6wIvE6o/s1600/IMG_5934.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-038YS6IB-H8/VDcm7C5dpII/AAAAAAAAGEU/oSxH6wIvE6o/s1600/IMG_5934.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christmas comes early--look at all those packages!</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-iKB7it7oJkM/VDcnAE04wZI/AAAAAAAAGEc/p4q4yvMSqKg/s1600/IMG_5935.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-iKB7it7oJkM/VDcnAE04wZI/AAAAAAAAGEc/p4q4yvMSqKg/s1600/IMG_5935.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Okay, so the yellow tape is not yet gone.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-BZmovVpyJNA/VDcnECKp_MI/AAAAAAAAGEk/fqnMQC7gDC4/s1600/IMG_5937.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-BZmovVpyJNA/VDcnECKp_MI/AAAAAAAAGEk/fqnMQC7gDC4/s1600/IMG_5937.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scholar studies waiting for scholars.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3e49h7LbKOo/VDcoCby--PI/AAAAAAAAGEw/TR2-pm5etZM/s1600/IMG_5938.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-3e49h7LbKOo/VDcoCby--PI/AAAAAAAAGEw/TR2-pm5etZM/s1600/IMG_5938.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New staff offices waiting for staff.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-nnX-xXhyfbw/VDcoCma8gAI/AAAAAAAAGE0/nUdX9XF01Lc/s1600/IMG_5940.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-nnX-xXhyfbw/VDcoCma8gAI/AAAAAAAAGE0/nUdX9XF01Lc/s1600/IMG_5940.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My office, not yet filled with "stuff."</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-riO3IcIZVMQ/VDcoO_b7HEI/AAAAAAAAGE8/jUvK-XE7IO0/s1600/IMG_5942.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-riO3IcIZVMQ/VDcoO_b7HEI/AAAAAAAAGE8/jUvK-XE7IO0/s1600/IMG_5942.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mountains of books (yes, those are all books).</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-bqR3n61lbqM/VDcoSiydprI/AAAAAAAAGFE/XruechUcHcY/s1600/IMG_5946.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-bqR3n61lbqM/VDcoSiydprI/AAAAAAAAGFE/XruechUcHcY/s1600/IMG_5946.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Why does a certain suite of music by Ferde Grofe come to mind?</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-V5h3RuSqbMs/VDcoW9iGMhI/AAAAAAAAGFM/0nFP8OU9IIQ/s1600/IMG_5950.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-V5h3RuSqbMs/VDcoW9iGMhI/AAAAAAAAGFM/0nFP8OU9IIQ/s1600/IMG_5950.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Time to open the packages! William Straub and Daniel Gullo unpack the first title on the shelf.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-kcGgRt7LxiM/VDcoh8tOZYI/AAAAAAAAGFU/96RhUH-NJT0/s1600/IMG_5952.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-kcGgRt7LxiM/VDcoh8tOZYI/AAAAAAAAGFU/96RhUH-NJT0/s1600/IMG_5952.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What did we unpack first? Why the <i>Patrologia Latina</i> (or "PL"), of course!</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: large;">* * *</span><br />
</div>
<br />
<h3>
<b>September 10, 2014</b> -- Getting Very Close</h3>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-PziwVflyw0c/VDcosYfUMjI/AAAAAAAAGFc/E09YUcFlF0c/s1600/IMG_6019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-PziwVflyw0c/VDcosYfUMjI/AAAAAAAAGFc/E09YUcFlF0c/s1600/IMG_6019.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The books were carefully returned to their natural habitat.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-nbL5aLkCwGM/VDcotUKXTiI/AAAAAAAAGFk/jQtzSFFRuOw/s1600/IMG_6022.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-nbL5aLkCwGM/VDcotUKXTiI/AAAAAAAAGFk/jQtzSFFRuOw/s1600/IMG_6022.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A place for everything; and, everything in its place! (yeah, sure it is ...)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-84ZNOIBQ_84/VDcoujZlUuI/AAAAAAAAGFs/XYLud8sW7H8/s1600/IMG_6025.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-84ZNOIBQ_84/VDcoujZlUuI/AAAAAAAAGFs/XYLud8sW7H8/s1600/IMG_6025.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The new classroom, waiting for students (and final touches).</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-4vza9sLVH3c/VDcpkt27V-I/AAAAAAAAGF8/IgpuDjDUSOE/s1600/IMG_6028.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-4vza9sLVH3c/VDcpkt27V-I/AAAAAAAAGF8/IgpuDjDUSOE/s1600/IMG_6028.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Looking more like a library. Still waiting for some furniture.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_MiBpHEcukM/VDcpkl05PKI/AAAAAAAAGGA/FSKe3criOcE/s1600/IMG_6031.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-_MiBpHEcukM/VDcpkl05PKI/AAAAAAAAGGA/FSKe3criOcE/s1600/IMG_6031.jpg" height="297" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The new entrance, inside Alcuin Library. But, still no name (it has since been added).</td></tr>
</tbody></table>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: large;">* * *</span><br />
<br />
<span style="font-size: large;"><span style="font-size: small;"><i>"And in the end ..." (Lennon/McCartney)</i></span> </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;"><b>It was a Picture-Perfect Summer at Saint John's!</b> </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-f12pFE0k0Gs/VDcwDlJgvZI/AAAAAAAAGGY/_MVqqwOC8YE/s1600/IMG_5521a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-f12pFE0k0Gs/VDcwDlJgvZI/AAAAAAAAGGY/_MVqqwOC8YE/s1600/IMG_5521a.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ahhhh, a summer afternoon at the beach ... what could be better than this? <br />(They did let us out of the basement <i>once </i>in a while.)</td></tr>
</tbody></table>
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-41243167415907083132014-04-28T09:27:00.000-07:002014-04-28T09:27:38.602-07:00HiMMeL ändert sich wieder - Renovation and Enhancement at HMML (2014)<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-WdyDC6e8YvE/U12r9MgdHFI/AAAAAAAAFqA/HhmLc4o2zG0/s1600/IMG_5377a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-WdyDC6e8YvE/U12r9MgdHFI/AAAAAAAAFqA/HhmLc4o2zG0/s1600/IMG_5377a.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A certain emptiness pervades the atmosphere ...</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: left;">
In recent weeks the scene at HMML has been a little like one of those Star Trek episodes, where the universe is shrinking and parts of the ship are gradually disappearing. The gift shop held a clearance sale and has closed, cabinets and screens have disappeared, and even my office is nearly entirely moved into the building next door. Feeling unsettled in times of transition is only normal, but when the movers came and packed up the reference books in HMML last week, it hit home harder than ever (for me at least) that our future will look quite different at the Library.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.hmml.org/uploads/2/1/6/0/21603598/5150094_orig.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.hmml.org/uploads/2/1/6/0/21603598/5150094_orig.jpg" height="192" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.hmml.org/campaign.html" target="_blank">See a small slide show of the new HMML.</a></td></tr>
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The <b>Hill Museum & Manuscript Library</b> (formerly known as the Monastic Manuscript Microfilm Project, the Monastic Manuscript Microfilm Library, and the Hill Monastic Manuscript Library) will soon undergo its largest remodeling since our <b>Marcel Breuer</b>-designed basements opened in 1976. And yes, that is plural (basement<i>s</i>)--for our offices occupy two underground levels, and we have grass for a roof!</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-aFgauTnhrbg/U12oT0X4aAI/AAAAAAAAFgQ/TeiXkuNmzJg/s1600/image0019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-aFgauTnhrbg/U12oT0X4aAI/AAAAAAAAFgQ/TeiXkuNmzJg/s1600/image0019.jpg" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christmas party in December 1968 in the original HMML offices in the basement of Alcuin Library.</td></tr>
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It was not always so, of course. In the earliest days of the microfilm project (1965-1966), the microfilm library was located in the middle level of the then-brand new Alcuin Library. Other units in that cluster of rooms included the rare books collection and the Kritzeck collection of documents signed by famous people in history. However, already at that early stage, the microfilming field director, Father Oliver Kapsner, OSB, complained that the space designated for the film library was far too small:</div>
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"When I first returned from Austria in 1966, the films were simply stored in a small seminar room on the library’s second level. Few thought that there should be extensive facilities for consulting the films.<span style="mso-spacerun: yes;"> </span>The new library [i.e., Alcuin Library] was already under construction when the microfilm project was conceived.<span style="mso-spacerun: yes;"> </span>By chance I met Fr. Paulin (Michael) Blecker in the library.<span style="mso-spacerun: yes;"> </span>He from the beginning had shown an interest in the project, and I mentioned to him the pitiful way in which the films were being stored.<span style="mso-spacerun: yes;"> </span> He asked me to come with him to the basement of the library, where he showed me to larger adjoining rooms not being used for much (I believe they were intended for the education department).<span style="mso-spacerun: yes;"> </span>Since after another year the seminar room on the second level would already be crowded with stored films, I called the abbot’s and president’s attention to these available rooms in the basement of the library for the microfilm collection."</div>
</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-iK7wmupXlwE/U12oQtq25yI/AAAAAAAAFfs/KPRyLaZzkd8/s1600/image0015.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-iK7wmupXlwE/U12oQtq25yI/AAAAAAAAFfs/KPRyLaZzkd8/s1600/image0015.jpg" height="217" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Staff meeting in the director's office (ca. 1970). The cork wall in the <br />
background is still there, but has been painted white! Now filled with compact shelving.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-TyVfzDmMB-U/U12oTii3v5I/AAAAAAAAFgE/lvTXpw1FQo8/s1600/image0033.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-TyVfzDmMB-U/U12oTii3v5I/AAAAAAAAFgE/lvTXpw1FQo8/s1600/image0033.jpg" height="241" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lots of room (?) for visiting scholars in the adjacent microfilm reader/reference area. <br />
Oversized rare volumes are now stored along this wall.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-WBdwIi2cgZ8/U12oUWEe65I/AAAAAAAAFgM/zN2AaZXliRo/s1600/image0047.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-WBdwIi2cgZ8/U12oUWEe65I/AAAAAAAAFgM/zN2AaZXliRo/s1600/image0047.jpg" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ms. Marianne Hansen at the typewriter, while a student worker retrieves a microfilm from the cabinets.</td></tr>
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<div class="separator" style="clear: both; text-align: left;">
To say that Father Oliver caught the abbot's ear is perhaps phrasing it a bit mildly. He was able to get the spaces assigned to the microfilm library in time for the arrival in early 1966 of Julian Plante, who was to remain the director of MMML/HMML for about 25 years.</div>
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Today these rooms have again been given new life--now as the repositories for the rare book collections at Saint John's University. This is the only way that I have ever seen them--filled with compact shelving, itself filled nearly to capacity! In fact, however, remnants of the early HMML can still be found in places: different colored floor tiles that show where a wall once had stood, or a cork wall that has been painted white (thus camouflaging it as painted concrete!).</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-P2aQ12OJRmU/U12oQgZ6-MI/AAAAAAAAFfo/-N5_7zM1wgI/s1600/image0015+%25282%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-P2aQ12OJRmU/U12oQgZ6-MI/AAAAAAAAFfo/-N5_7zM1wgI/s1600/image0015+%25282%2529.jpg" height="253" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The space for researchers, with a steel door in the background <br />
(which is still there, only painted light blue).</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-K8WiVPFQ8Is/U12oXV_TueI/AAAAAAAAFg8/DMIazumu4e4/s1600/image0065.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-K8WiVPFQ8Is/U12oXV_TueI/AAAAAAAAFg8/DMIazumu4e4/s1600/image0065.jpg" height="217" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Incipit files to identify the first line of texts in manuscripts. Some of these files are still in HMML, <br />
although we are attempting to find a better way to store them!</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-IrId3pWPtXY/U12oak7c3nI/AAAAAAAAFhs/0HvcqcCTFd0/s1600/image0150.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-IrId3pWPtXY/U12oak7c3nI/AAAAAAAAFhs/0HvcqcCTFd0/s1600/image0150.jpg" height="242" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note the omnipresent typewriter in the background--back before personal computers were even an option.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-yV-xPH6UcW8/U12oZahX9wI/AAAAAAAAFhU/3DrzLiQ4jkA/s1600/image0092.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-yV-xPH6UcW8/U12oZahX9wI/AAAAAAAAFhU/3DrzLiQ4jkA/s1600/image0092.jpg" height="252" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It is hard to imagine that visiting scholars could accomplish much with such tight conditions!</td></tr>
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<br />
<h3>
<span style="font-size: large;">A New (Trapezoidal) Home </span></h3>
Father Oliver wrote his version of early HMML history after the new Library was built (1975-1976), but his efforts to find a home for the microfilm proved effective at the outset:<br />
<blockquote class="tr_bq">
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"Some time after my return to Europe, the films were moved to the two basement rooms in the library where, before many years, the situation again became crowded not only with films and reference works, but also with people.<span style="mso-spacerun: yes;"> </span> Catalogers, scholars, and visitors were falling over each other. Even the approach via a long stairway was awkward and uninviting, especially for elderly scholars, and there was no public elevator in the library."</div>
</blockquote>
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</div>
<div class="separator" style="clear: both; text-align: left;">
So it was, that in the early 1970's, new plans were proposed for a fabulous new center that would house this blossoming collection. An addition to Alcuin Library--to have two floors above ground and two below--would be built immediately to the west of the university library.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-qgQxZo48RVI/U12oylSQFwI/AAAAAAAAFj0/GCj3vBFuBnE/s1600/HMML+model+1a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-qgQxZo48RVI/U12oylSQFwI/AAAAAAAAFj0/GCj3vBFuBnE/s1600/HMML+model+1a.jpg" height="221" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The view from above, from the west.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-OO_1_cWG4QA/U12oy6jns1I/AAAAAAAAFkE/nnSe2AaRI_U/s1600/HMML+model+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-OO_1_cWG4QA/U12oy6jns1I/AAAAAAAAFkE/nnSe2AaRI_U/s1600/HMML+model+2.jpg" height="320" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marcel Breuer's design for the library addition at Saint John's (seen from the north).</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-3qHFNHnz0bg/U12o0ZQ1rrI/AAAAAAAAFko/07FzfelNOfA/s1600/HMML+model+5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-3qHFNHnz0bg/U12o0ZQ1rrI/AAAAAAAAFko/07FzfelNOfA/s1600/HMML+model+5.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Now known as the Bush Center, the addition only appears in photographs today <br />
as a grassy plot with a concrete retaining wall around the edge. Seen from the south.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-HSUGl7wLm8w/U12o0bJq1qI/AAAAAAAAFkc/wCnZdT_f7Ks/s1600/HMML+original+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-HSUGl7wLm8w/U12o0bJq1qI/AAAAAAAAFkc/wCnZdT_f7Ks/s1600/HMML+original+1.jpg" height="222" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The angled side (producing HMML's quirky trapezoidal shape) was intended to follow the <br />
path of the adjacent access road to campus.</td></tr>
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The model makes this new center look promising indeed! As tall as the Alcuin Library, with a walkway joining them, this new library would likely have housed both HMML and added space for Alcuin. The explanation on the model states:</div>
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"The proposed two-stage addition to Saint John's Alcuin Library. The first stage, to be begun this Spring, will be completely underground. Funded largely by grants from the Hill and Bush Foundations, this stage wil provide new quarters for the Monastic Manuscript Microfilm Library (MMML). Plans have not been complete nor construction scheduled for the second stage."</div>
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Unfortunately, the plans for the second stage never were fulfilled, and thus only about half of the building was actually built.</div>
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In an earlier post, I spoke of the <a href="http://booksfromthehmmlbasement.blogspot.com/2013/10/ground-breaking-and-ground-re-breaking.html" target="_blank">1975 groundbreaking ceremony</a> for the new center that now houses HMML. So, I will not go further into detail here, except to reproduce one of the pictures from that day:</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-rdVpnfrR_JA/U153wOwG57I/AAAAAAAAFtE/ylYoR96hBPA/s1600/scan073.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-rdVpnfrR_JA/U153wOwG57I/AAAAAAAAFtE/ylYoR96hBPA/s1600/scan073.jpg" height="243" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Breaking ground for the Bush Center/Hill Monastic Manuscript Library in April 1975, <br />
when the microfilming project was about 10 years old.</td></tr>
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<a href="http://1.bp.blogspot.com/-XSmiTb6OP74/U153yAlBfdI/AAAAAAAAFtk/7Fr1wM8WsT8/s1600/scan076.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-XSmiTb6OP74/U153yAlBfdI/AAAAAAAAFtk/7Fr1wM8WsT8/s1600/scan076.jpg" height="237" width="320" /></a></div>
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<span style="font-size: large;">Construction (1975-1976)</span></h3>
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Construction started already that summer, and soon a giant hole located HMML's new home.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-sgZpZn1oWC4/U12pvzdmHyI/AAAAAAAAFn0/f5xrj3mEx38/s1600/scan040.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-sgZpZn1oWC4/U12pvzdmHyI/AAAAAAAAFn0/f5xrj3mEx38/s1600/scan040.jpg" height="277" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Taken from the bell banner of the Abbey church (I believe).</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3mUZTaGslP8/U153o_rDlVI/AAAAAAAAFqo/riiAeNk_ytc/s1600/scan052.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-3mUZTaGslP8/U153o_rDlVI/AAAAAAAAFqo/riiAeNk_ytc/s1600/scan052.jpg" height="225" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The HMML hole in the ground, with the bell banner in the background.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-2ze7obrVKlQ/U153tNRw0wI/AAAAAAAAFr8/LL9gWBkmCvk/s1600/scan063.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-2ze7obrVKlQ/U153tNRw0wI/AAAAAAAAFr8/LL9gWBkmCvk/s1600/scan063.jpg" height="223" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All projects require supervision (or at least multiple supervisors).</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-oW5tGZnCFo8/U153uRoV3jI/AAAAAAAAFsA/pivLf7dlgbs/s1600/scan066.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-oW5tGZnCFo8/U153uRoV3jI/AAAAAAAAFsA/pivLf7dlgbs/s1600/scan066.jpg" height="223" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">So that's what's under the grass!</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ln4RlhqV5iA/U12o1P8p_oI/AAAAAAAAFkw/TKLU7uNBpbk/s1600/image0002a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ln4RlhqV5iA/U12o1P8p_oI/AAAAAAAAFkw/TKLU7uNBpbk/s1600/image0002a.jpg" height="245" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alcuin Library in the background, our immediate neighbor to the east.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-b8iRecH1jKI/U12o1cQrt0I/AAAAAAAAFk4/8zEDB9RQXBU/s1600/image0003a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-b8iRecH1jKI/U12o1cQrt0I/AAAAAAAAFk4/8zEDB9RQXBU/s1600/image0003a.jpg" height="246" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Building pillars.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Ym1FPYQhdLo/U12pBEMI0LI/AAAAAAAAFlw/F1-XCRHQ93g/s1600/image0010a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-Ym1FPYQhdLo/U12pBEMI0LI/AAAAAAAAFlw/F1-XCRHQ93g/s1600/image0010a.jpg" height="320" width="319" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">More concrete.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-DPO4ge209C0/U12o08PcTpI/AAAAAAAAFlA/QFGx42gDLjI/s1600/image0001a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-DPO4ge209C0/U12o08PcTpI/AAAAAAAAFlA/QFGx42gDLjI/s1600/image0001a.jpg" height="247" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walls begin to emerge from the hole.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-NyN_aNzdQgs/U12pB1R7xnI/AAAAAAAAFl4/SiukhWF54Bw/s1600/image0012a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-NyN_aNzdQgs/U12pB1R7xnI/AAAAAAAAFl4/SiukhWF54Bw/s1600/image0012a.jpg" height="316" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I guess you need floors, too.</td></tr>
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Did I mention that the architect, Marcel Breuer, was noted for his use of concrete in construction? As you can see, we are essentially all poured concrete walls and ceiling.</div>
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<span style="font-size: large;"><b>August 1976: Moving In</b></span></h3>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-khjzxzWE4y8/U1533pdF9cI/AAAAAAAAFuc/lC6NVIuOGm4/s1600/scan087.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-khjzxzWE4y8/U1533pdF9cI/AAAAAAAAFuc/lC6NVIuOGm4/s1600/scan087.jpg" height="219" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bring on the books!</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-GRjEE8Uq72Y/U1535PXfusI/AAAAAAAAFvM/i_5kYcfyUNA/s1600/scan089.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-GRjEE8Uq72Y/U1535PXfusI/AAAAAAAAFvM/i_5kYcfyUNA/s1600/scan089.jpg" height="218" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finishing touches.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-kcIUk1d2BYw/U1534bqtVmI/AAAAAAAAFu4/ab9fhj1zHgk/s1600/scan088.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-kcIUk1d2BYw/U1534bqtVmI/AAAAAAAAFu4/ab9fhj1zHgk/s1600/scan088.jpg" height="221" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The HMML front office - the file cabinets are still there, but the desks have moved around.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ninEBqFmOu0/U12oycjZrMI/AAAAAAAAFjw/5ynDl0g3wAc/s1600/Building+HMML+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ninEBqFmOu0/U12oycjZrMI/AAAAAAAAFjw/5ynDl0g3wAc/s1600/Building+HMML+6.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Building the interior (upstairs).</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OEr13cYySgE/U12owlwhrvI/AAAAAAAAFi8/KSzsv3haIik/s1600/Building+HMML+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-OEr13cYySgE/U12owlwhrvI/AAAAAAAAFi8/KSzsv3haIik/s1600/Building+HMML+4.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Building the interior (downstairs).</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-d-p3KiJwDDU/U12ougxe0QI/AAAAAAAAFik/aoHQtILVIl8/s1600/Building+HMML+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-d-p3KiJwDDU/U12ougxe0QI/AAAAAAAAFik/aoHQtILVIl8/s1600/Building+HMML+11.jpg" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the view toward the director's office.</td></tr>
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<span style="font-size: large;"><b>Settling in: HMML as it appeared from 1976 until the early 1990's</b></span></h3>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Rp8mJRv2Gis/U12oxN8GJoI/AAAAAAAAFjQ/nsy81ENLkug/s1600/Building+HMML+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-Rp8mJRv2Gis/U12oxN8GJoI/AAAAAAAAFjQ/nsy81ENLkug/s1600/Building+HMML+7.jpg" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finding room for films (Dr. Julian Plante).</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ECiVrKktLcI/U12pBG9N5nI/AAAAAAAAFls/_OUOXE0K9_o/s1600/image0011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ECiVrKktLcI/U12pBG9N5nI/AAAAAAAAFls/_OUOXE0K9_o/s1600/image0011.jpg" height="241" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A staff gathering at the round table (in what was later the gift shop).</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-4lUj94H5n4Y/U12pHccvtEI/AAAAAAAAFm0/3ZHP0_x4vUI/s1600/image0035.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-4lUj94H5n4Y/U12pHccvtEI/AAAAAAAAFm0/3ZHP0_x4vUI/s1600/image0035.jpg" height="221" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The round table for meetings - in what has been the gift shop for over 15 years.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MS5zbmu3Leg/U12pGlWqQYI/AAAAAAAAFmU/PP-k00APEJ0/s1600/image0034.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MS5zbmu3Leg/U12pGlWqQYI/AAAAAAAAFmU/PP-k00APEJ0/s1600/image0034.jpg" height="218" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The waiting room - right at the entrance to the library. Larger than the spaces in the old MMML?</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-IzWWp1iuReM/U12pIBvWxII/AAAAAAAAFm8/IXhs7_If16w/s1600/image0040.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-IzWWp1iuReM/U12pIBvWxII/AAAAAAAAFm8/IXhs7_If16w/s1600/image0040.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Jerome Hill Reference area - for scholars and students. Originally open to the aisle as in this photo.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/--QIhOFvPm_c/U12pIZzU6NI/AAAAAAAAFnM/HhWSxNXXauY/s1600/image0041.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/--QIhOFvPm_c/U12pIZzU6NI/AAAAAAAAFnM/HhWSxNXXauY/s1600/image0041.jpg" height="243" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ms. Marianne Hansen filing into the HMML card cabinets.</td></tr>
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<h3>
<span style="font-size: large;">2014 Renovation</span></h3>
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In the early to mid 1990's, the HMML space stayed relatively stable. However, it became apparent that the space needed some reorganization and the carrels, classroom and book stacks all were re-arranged. What had originally been the classroom area became a small gallery space for exhibits. The classroom was behind this (as late as 2001, when I started at the Library) with a capacity of about 30-35 visitors. About a decade ago the gallery was expanded to accommodate exhibits from the Saint John's Bible and the classroom shrank to about 10-15 seats.<br />
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The 2014 renovation will not only rearrange the layout of the space and furniture in HMML, but it will add new walls to create enclosed office spaces, greater separation between the public and staff areas of the Library, and open up the wall more between Alcuin Library and HMML. This will also provide a more inviting atmosphere that will enhance the interaction between the libraries.<br />
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And it will have a real classroom!<br />
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But first the HMML space (aka the Bush Center) will have to be closed for three months, while all the construction is underway. One of the ironies of this project is that HMML will be returning to its "roots" in the basement of Alcuin. We won't be in the exact rooms of the old HMML (which now have compact shelves full of rare books), but in the office spaces immediately adjacent to those rooms. It will be a little like a class reunion ...<br />
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<span style="font-size: large;"><i><b>Come visit HMML and see our new space, but wait until September 2014, so we can move in first! </b></i></span><br />
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<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com5tag:blogger.com,1999:blog-2100310334282304061.post-80696136134361323542014-04-07T20:12:00.002-07:002014-04-07T20:12:38.776-07:00Handschriften in der Hill Museum & Manuscript Library - German Manuscripts at HMML<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-py4hBO1nP8c/U0L7kbBMbcI/AAAAAAAAFdU/RA10SST394I/s1600/Williams-2-IMG_231r2a2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-py4hBO1nP8c/U0L7kbBMbcI/AAAAAAAAFdU/RA10SST394I/s1600/Williams-2-IMG_231r2a2.jpg" height="236" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Even bookbindings can be enlightening! One of the earliest manuscripts in German at HMML--a recycled scrap of parchment in the binding of Barton Williams Ms. 2.</td></tr>
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The Hill Museum & Manuscript Library has provided access to other people's manuscripts for almost 50 years now. The Library's focus has always been on photographic preservation of manuscripts elsewhere in the world -- far from the edge of the prairie in Minnesota. Indeed, the largest single group of these manuscripts is still the 30,000 microfilmed in Austria (along with about 14,000 from Germany and 1000 from Switzerland, and you have nearly 50,000 manuscripts from Central Europe in one library!).<br />
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However, during that same time, the library has also received numerous gifts of rare books and manuscripts (the vast majority of our rare collections have come as gifts), which today are kept with the rare books and manuscripts that had come to Saint John's Abbey and University since the nineteenth century. There are three main collections: Saint John's Rare Books, Arca Artium Rare Books, and HMML Rare Books. Among these books are a number of manuscripts which are in the German language, dating from the 15th century (above) to the 20th century. These are mostly codex manuscripts, with a couple archival documents thrown in.<br />
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Ironically, while a large part of our films come from Germany, Austria, and Switzerland, our original manuscripts are not very well represented. Aside from the few listed here, there are manuscripts in larger numbers in Latin, Arabic, and Ethiopic. <br />
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<b>Barton Williams Ms. 2 - pastedown leaves (recycled)</b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_jOVxpMhg8U/U0L7jHc8ULI/AAAAAAAAFc4/c7KhNB_i028/s1600/Williams-2-IMG_001v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-_jOVxpMhg8U/U0L7jHc8ULI/AAAAAAAAFc4/c7KhNB_i028/s1600/Williams-2-IMG_001v.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charter used as a pastedown to help the late medieval binding.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-3NCND1psv1s/U0L7jpLfc-I/AAAAAAAAFdA/zjUE79sqEF8/s1600/Williams-2-IMG_231r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-3NCND1psv1s/U0L7jpLfc-I/AAAAAAAAFdA/zjUE79sqEF8/s1600/Williams-2-IMG_231r.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charter dated 1442 inside the cover of Barton Williams Ms. 2</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-S1dcfdyqQRw/U0L7k_pMZlI/AAAAAAAAFdY/UD89z5VJTcQ/s1600/Williams-2-IMG_FC.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-S1dcfdyqQRw/U0L7k_pMZlI/AAAAAAAAFdY/UD89z5VJTcQ/s1600/Williams-2-IMG_FC.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Contemporary cover on Barton Williams Ms. 2.</td></tr>
</tbody></table>
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The earliest German-language manuscripts in the HMML collections appear to be recycled charters that were used for pastedowns in a 15th century manuscript called a "preacher's manual." The texts themselves are in Latin, but the contemporary binding is falling apart and the pastedowns have come loose, which make it possible to study the binding structure! Neither of these scraps has been identified or described fully, to my knowledge, but one seems to indicate a date of 1442!<br />
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<b>Individual letters in the James Kritzeck Collection:</b><br />
<ul>
<li>Emperor Maximilian I</li>
<li>Emperor Ferdinand I</li>
<li>Emperor Rudolph II</li>
<li>Emperor Matthias</li>
<li>Emperor Ferdinand II</li>
<li>Emperor Ferdinand III</li>
<li>Emperor Joseph I</li>
<li>Empress Maria Theresia (2x)</li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-tbtQJXV7kaQ/U0L7maqPZcI/AAAAAAAAFdw/eMaRVOiErEM/s1600/kritz_image046r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-tbtQJXV7kaQ/U0L7maqPZcI/AAAAAAAAFdw/eMaRVOiErEM/s1600/kritz_image046r.jpg" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Letter from Emperor Joseph I (1705-1711).</td></tr>
</tbody></table>
The James Kritzek Collection of autographed documents from popes, kings, emperors, queens, empresses, and presidents, includes a number of items signed by Holy Roman emperors (and one empress). Not all of these are in German, but several of them are. The collection is more representational than deep, as there is generally only one signed document per ruler.<br />
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<b>SJU Ms. 16 - Catholic Prayer book (1872)</b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xOgrXmJx5B0/U0L7bvq_EKI/AAAAAAAAFa4/DFDMdSIBNSM/s1600/SJU-16-IMG_003r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-xOgrXmJx5B0/U0L7bvq_EKI/AAAAAAAAFa4/DFDMdSIBNSM/s1600/SJU-16-IMG_003r.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A colorful title page from the 19th century.</td></tr>
</tbody></table>
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<a href="http://2.bp.blogspot.com/-dGjwc0vjWLw/U0L7fLeonJI/AAAAAAAAFb4/Wk_YGK_fg2w/s1600/SJU-16-IMG_FC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-dGjwc0vjWLw/U0L7fLeonJI/AAAAAAAAFb4/Wk_YGK_fg2w/s1600/SJU-16-IMG_FC.jpg" height="320" width="213" /></a></div>
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The Saint John's Rare Books Collection includes two codex manuscripts in German. Both of these are prayer books from the 18th and 19th centuries. On its rather colorful title page, SJU Ms.16 is dated 1872. While the title page is in Gothic script, the bulk of the text is copied in Kurrent.<br />
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<b>SJU Ms. 17 - Prayer book (18th or 19th century?)</b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ShdIGTsET-w/U0L7fKq_cEI/AAAAAAAAFbo/o3KIVT71ouw/s1600/SJU-17-IMG_002r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-ShdIGTsET-w/U0L7fKq_cEI/AAAAAAAAFbo/o3KIVT71ouw/s1600/SJU-17-IMG_002r.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Water damage to the first page of the manuscript. Note the use of both Gothic and Kurrent scripts.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-EifjgKk09J8/U0L7ihThH3I/AAAAAAAAFcw/unmcSsfiSiA/s1600/SJU-17-IMG_COVER.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-EifjgKk09J8/U0L7ihThH3I/AAAAAAAAFcw/unmcSsfiSiA/s1600/SJU-17-IMG_COVER.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This manuscript comes with a handy little protective leather pouch, which opens in the middle.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-m-qgDCoKrvg/U0L7ifd5abI/AAAAAAAAFco/FGs1ltTOwNY/s1600/SJU-17-IMG_BP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-m-qgDCoKrvg/U0L7ifd5abI/AAAAAAAAFco/FGs1ltTOwNY/s1600/SJU-17-IMG_BP.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Once upon a time, this manuscript was shelved with the print books in the Abbey Library collection.</td></tr>
</tbody></table>
Another prayer book, this one undated, but likely from the 18th or early 19th century. This manuscript features its own little carrying case, as well as a circulation card in the back! A few decades ago the manuscript was cataloged and processed as any print book would be -- with call number, cataloging record, and a pocket for the circulation card. This book no longer circulates! There is a Dewey classification number on the pouch, indicating that the book was once in the Abbey Library and came to the University Library later.<br />
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Arca Artium Kacmarcik Ms. 13 - Prayer book with engravings (1622)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_n4vsFe_xTc/U0L7NbdxB0I/AAAAAAAAFW4/btoImnHzO8Q/s1600/Kac-13-IMG_002r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-_n4vsFe_xTc/U0L7NbdxB0I/AAAAAAAAFW4/btoImnHzO8Q/s1600/Kac-13-IMG_002r.jpg" height="294" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Deutsch Passional (copied in Vienna, Austria, by Daniel Meltzer, in 1622)</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-r7onlKQhVOw/U0L7NcEKNcI/AAAAAAAAFWs/TXEJK0a3Y_U/s1600/Kac-13-IMG_002v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-r7onlKQhVOw/U0L7NcEKNcI/AAAAAAAAFWs/TXEJK0a3Y_U/s1600/Kac-13-IMG_002v.jpg" height="294" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Passional starts with an engraving of the Last Supper. Printed on paper and pasted onto a parchment leaf.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-kxlCh9-YVLs/U0L7Nhzmk8I/AAAAAAAAFWw/_CTB33ApOfE/s1600/Kac-13-IMG_003r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-kxlCh9-YVLs/U0L7Nhzmk8I/AAAAAAAAFWw/_CTB33ApOfE/s1600/Kac-13-IMG_003r.jpg" height="294" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First page of text in Kacmarcik Ms. 13.</td></tr>
</tbody></table>
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<a href="http://2.bp.blogspot.com/-BsHg9QQHsRo/U0L7OEVUUQI/AAAAAAAAFXA/wwum5I7hFAc/s1600/Kac-13-IMG_fc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-BsHg9QQHsRo/U0L7OEVUUQI/AAAAAAAAFXA/wwum5I7hFAc/s1600/Kac-13-IMG_fc.jpg" height="294" width="320" /></a></div>
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Kacmarcik Ms. 13 (from the Arca Artium Rare Collection) is an unusual little book of prayers to remember the Passion of Jesus. Only about 3 inches tall, it is written on parchment (most of these later manuscripts are on paper), and has engravings of the Passion bound in with the prayers. The basic structure is to have one engraving (on the verso of the leaf), followed by 3 leaves of prayers. Unlike the other codices listed here, the script in this small volume is entirely in Gothic.<br />
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Arca Artium Kacmarcik Ms. 14 - Prayer book with engravings ("Geistliches Hand-Buechel," 1778)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qYqnQTMGKHs/U0L7O_zi5lI/AAAAAAAAFXY/ydemag6Osi0/s1600/Kac-14-IMG_002v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-qYqnQTMGKHs/U0L7O_zi5lI/AAAAAAAAFXY/ydemag6Osi0/s1600/Kac-14-IMG_002v.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Engraving facing the opening page of the codex.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7VqqbWogNMk/U0L7O9dEsMI/AAAAAAAAFXM/8naOuF3Ia9M/s1600/Kac-14-IMG_003r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-7VqqbWogNMk/U0L7O9dEsMI/AAAAAAAAFXM/8naOuF3Ia9M/s1600/Kac-14-IMG_003r.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Geistliches Hand-Buechl.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ji6NjAVeRgQ/U0L7S59fpNI/AAAAAAAAFYc/ptM0r84jW9g/s1600/Kac-14-IMG_069r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-ji6NjAVeRgQ/U0L7S59fpNI/AAAAAAAAFYc/ptM0r84jW9g/s1600/Kac-14-IMG_069r.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Colophon identifying the scribe and for whom the manuscript was copied; <br />as well as giving a date of copying as 1778.</td></tr>
</tbody></table>
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<a href="http://2.bp.blogspot.com/-N01zv_pIju0/U0L7ToauwGI/AAAAAAAAFYg/GxWoxvd1mVg/s1600/Kac-14-IMG_FC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-N01zv_pIju0/U0L7ToauwGI/AAAAAAAAFYg/GxWoxvd1mVg/s1600/Kac-14-IMG_FC.jpg" height="320" width="213" /></a></div>
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Kacmarcik Ms. 14 is also a prayer book with engravings, although this is not specifically tied to the Passion. As with many of these codices, the titles and headings are copied in Gothic script, while the contents are all in Kurrent. I hope to compile a list of the prayers in each of the prayer books soon.<br />
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Arca Artium Kacmarcik Ms. 15 - Catholic Prayer book with engravings (18th century?)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-847BnrWZkV0/U0L7U9tZ8ZI/AAAAAAAAFY0/GwDwmGC9qlc/s1600/Kac-15-IMG_003r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-847BnrWZkV0/U0L7U9tZ8ZI/AAAAAAAAFY0/GwDwmGC9qlc/s1600/Kac-15-IMG_003r.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title page is in a different script from most of the rest of the codex.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-upuFNS9NpxY/U0L7U2Pz4QI/AAAAAAAAFY4/lfJwzRA1o2o/s1600/Kac-15-IMG_004v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-upuFNS9NpxY/U0L7U2Pz4QI/AAAAAAAAFY4/lfJwzRA1o2o/s1600/Kac-15-IMG_004v.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of several engravings bound into the book. Saint Michael slaying the dragon.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hDts45Tr2YI/U0L7WECw5EI/AAAAAAAAFZU/ACoxb_vx_2A/s1600/Kac-15-IMG_005r2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hDts45Tr2YI/U0L7WECw5EI/AAAAAAAAFZU/ACoxb_vx_2A/s1600/Kac-15-IMG_005r2.jpg" height="320" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note the hierarchy of scripts (Gothic for headings, Kurrent for text). Most of the text looks more like this.</td></tr>
</tbody></table>
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<a href="http://4.bp.blogspot.com/-p9fL8_EdIIM/U0L7Y4qGfNI/AAAAAAAAFZ4/QmAqmBdcB9s/s1600/Kac-15-IMG_FC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-p9fL8_EdIIM/U0L7Y4qGfNI/AAAAAAAAFZ4/QmAqmBdcB9s/s1600/Kac-15-IMG_FC.jpg" height="320" width="213" /></a></div>
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Arca Artium Kacmarcik Ms. 24 - modern calligraphy - essay by Friedrich Nietzsche (1944?)<br />
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Completed in Frankfurt, Germany, during World War II, this volume is largely noteworthy for the carefully prepared calligraphy<br />
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Arca Artium Kacmarcik Ms. 35 - Recessionale (1700)<br />
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Of a completely different nature is a very large and thick volume called the <i>Recessionale</i>, and dated 1700. So far, no research on this volume has been done, so we know very little about its contents.<br />
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Arca Artium Kacmarcik Ms. 36 - Lectures on Architecture with architectural drawings (18th century?)<br />
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<a href="http://2.bp.blogspot.com/-ceOGw856YKo/U0L7a2Umb1I/AAAAAAAAFac/ueR7tZEMgfY/s1600/Kac-36-IMG_005r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-ceOGw856YKo/U0L7a2Umb1I/AAAAAAAAFac/ueR7tZEMgfY/s1600/Kac-36-IMG_005r.jpg" height="320" width="213" /></a></div>
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<a href="http://4.bp.blogspot.com/-DVCfQ-DB9NQ/U0L7bkmPOsI/AAAAAAAAFas/cVo-AZuKmWY/s1600/Kac-36-IMG_014v.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-DVCfQ-DB9NQ/U0L7bkmPOsI/AAAAAAAAFas/cVo-AZuKmWY/s1600/Kac-36-IMG_014v.jpg" height="320" width="213" /></a></div>
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This codex features a very new, modern bookbinding, along with several pages of architectural drawings. Some pages even have flaps to life. Referred to in our documentation as Architectural Lectures, There appear to be many references in other languages--most notably French.<br />
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Are there other German manuscripts in the Saint John's/HMML collections? Quite possibly, yes. However, the collections are still being cataloged, and new adventures always await those who are traversing these handwritten paths for the first time (in many years)!<br />
<br />
Perhaps there are students out there who would be interested in helping to decipher and describe these manuscripts for us?<br />
<br />
Peace,<br />
<br />
Matt Heintzelman<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com3tag:blogger.com,1999:blog-2100310334282304061.post-66660406435906535012014-03-10T09:30:00.004-07:002014-03-10T09:30:36.342-07:00Bibles and Beginnings<!--[if gte mso 9]><xml>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OiCjHvE5VbI/Tw4ISFoeo5I/AAAAAAAAAR8/cSVOVhvS9IA/s1600/IMG_1807a.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-OiCjHvE5VbI/Tw4ISFoeo5I/AAAAAAAAAR8/cSVOVhvS9IA/s1600/IMG_1807a.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Johann Dietenberger's translation of the Bible into German for Catholics. <br />First published in 1534, this edition is from 1572. <br />Book no. 1 in the Saint John's list of book accessions.</td></tr>
</tbody></table>
<h4>
<b>Bibles and Beginnings</b></h4>
<div class="separator" style="clear: both; text-align: center;">
</div>
In 1875, Father Bernard Locnickar, O.S.B., began a handwritten record of the books in the Abbey library at what is today Saint John’s Abbey and Saint John’s University. First among the books recorded was a 1572 copy of the Bible, translated into German by Johann Dietenberger (Zu Cöln / Durch Gerwinum Calenium und die Erben etwan Johan Quentels / Im Jar M.D.LXXII.). Father Bernard’s 1875 “catalog” provides a snapshot of an already existing collection about whose earliest history very little is known. The following article is largely a reprint from the HMML Chronicle, which preceded the Books from the HMML Basement blog. I have added examples of some the Biblical books in the SJU, Arca Artium and HMML collections.<br />
<i>(Click on any image to see it enlarged.)</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-eTMxLoJOcfU/Tw4EwrWUmFI/AAAAAAAAARs/klFQSeoYrBs/s1600/list400px.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-eTMxLoJOcfU/Tw4EwrWUmFI/AAAAAAAAARs/klFQSeoYrBs/s1600/list400px.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Locnikar's accessions book from 1875.</td></tr>
</tbody></table>
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While it seems unthinkable that the monks travelling to Central Minnesota in 1856 would not have brought at least one Bible, a copy of the Rule of Benedict and liturgical books like missals and breviaries, there is no record to verify this. Ronald Roloff, O.S.B., in his 1953 history of the Abbey library could only point to early course catalogs and speculate that individual monks probably had personal libraries to use for worship and teaching. Already in 1869 and 1870 there were beginnings of student libraries at Saint John’s, but still no official Abbey or College library.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-rP4Mj5zvKXI/T48uEbs5URI/AAAAAAAABIU/_ohdg-oeacE/s1600/IMG_1338.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-rP4Mj5zvKXI/T48uEbs5URI/AAAAAAAABIU/_ohdg-oeacE/s1600/IMG_1338.JPG" height="232" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An early 16th-century collection of Gospel and Epistle readings in German, <br />with a hand-colored woodcut of the Nativity. In the Saint John's University Rare Books Collection.</td></tr>
</tbody></table>
Thus, Father Bernard’s 1875 record marks the beginnings of a formal library as we understand it. It is a fascinating document in many ways, with sparse entries for the books and (sometimes) maddeningly minimal information on their acquisition. The location of each book is given with a shorthand notation that seems meaningless without the key in the front flyleaf. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/--Xq0RMj9-TM/UnAD-v9kbmI/AAAAAAAAD9A/cUJkud9bOUA/s1600/Gavin2-IMG_095v1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/--Xq0RMj9-TM/UnAD-v9kbmI/AAAAAAAAD9A/cUJkud9bOUA/s1600/Gavin2-IMG_095v1.jpg" height="238" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From one of the Gavin Books of Hours in the HMML collections at Saint John's.</td></tr>
</tbody></table>
The first 75 books recorded were all either Bibles, biblical texts or works about the Bible. Of these, the largest number were in German, Latin, or both. However, there were also Bibles in Hebrew, Greek, and of course, English. Most likely, the Bible chosen to be number one in the catalog had a special significance for the monastic community at Saint John’s, but that story seems to have disappeared over the decades. Other topics in the earliest books collected include homiletics, catechisms, moral and dogmatic theology, and apologetics. Many of these books form the core of the Special Collections at Saint John’s today.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-3fIFp_GYJEQ/UGJtyqdFKzI/AAAAAAAABm0/Wj3i2nJlJUE/s1600/Ms.+Frag.+19+-+recto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-3fIFp_GYJEQ/UGJtyqdFKzI/AAAAAAAABm0/Wj3i2nJlJUE/s1600/Ms.+Frag.+19+-+recto.jpg" height="320" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Medieval fragment of a Bible with commentary glosses around Luke's Gospel text.</td></tr>
</tbody></table>
The 1572 edition of Dietenberger’s Bible translation is a good example. It was originally published in 1534 as a Catholic response to Martin Luther’s complete Bible translation which appeared that same year. The Saint John’s copy is from the 8th edition and features woodcut decorations on the title pages for both the Old and New Testament. The woodcuts feature the Holy Trinity at the top, as well as the four Evangelists along the sides and the twelve apostles at the bottom. The volume includes several woodcuts and historiated initials.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-yM11Lt12yRY/Tw4ISBVsVPI/AAAAAAAAASA/HfAeRUF-lrs/s1600/IMG_1813a.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-yM11Lt12yRY/Tw4ISBVsVPI/AAAAAAAAASA/HfAeRUF-lrs/s1600/IMG_1813a.JPG" height="273" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A vision of the Apocalypse from the 1572 Dietenberger Bible.</td></tr>
</tbody></table>
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What is most touching about the Dietenberger Bible, however, is that it is not in pristine condition! Many pages are damaged around the edges, some are water-stained, some pages are loose. The binding is very plain and worn. But all the damage bespeaks a volume that at one time was used heavily and not set aside as an untouchable jewel. Books have always been central to the spiritual life of the Benedictines, and this book—printed in 1572 in Germany and lovingly recorded in 1875 in Minnesota—appears to have earned its honorary title of number one (“Nro: 1”).<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-AvdRQgF5tak/UnFCqSEtv1I/AAAAAAAAEE0/Nh3RUDa7pAw/s1600/Wenner-06a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-AvdRQgF5tak/UnFCqSEtv1I/AAAAAAAAEE0/Nh3RUDa7pAw/s1600/Wenner-06a.jpg" height="320" width="299" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Another side to the Rare Book Collections at Saint John's: an Ethiopian prayer scroll.</td></tr>
</tbody></table>
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Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-1604744944455422342014-03-07T13:17:00.002-08:002014-03-07T13:17:42.177-08:00Austrian Manuscript Library Tour, Part 6: Fond Farewell to Vienna 2013<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-LGkEAz9ZT1o/UxoNeMIP4fI/AAAAAAAAFTs/Bmp4vEYspTg/s1600/IMG_9030b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-LGkEAz9ZT1o/UxoNeMIP4fI/AAAAAAAAFTs/Bmp4vEYspTg/s1600/IMG_9030b.jpg" height="185" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vienna: where the cows and the dogs play Backgammon. Late medieval mural fragment in the first district.</td></tr>
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<div class="separator" style="clear: both; text-align: center;">
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In December 2013, I was able to visit the capital of Austria, Vienna, and parts of the surrounding province of Lower Austria. Out of that brief trip (about 9 days total), I have constructed a small tour of manuscript libraries where the Hill Museum & Manuscript Library (under the earlier name of the Monastic Manuscript Microfilm Library) preserved medieval codices with cameras. As all good things must come to an end, so too, my trip to Vienna could not go on indefinitely. So, as I toured the city in my free time, I made a point of going past some of the other places where Father Oliver Kapsner, OSB, worked in the years 1967 to 1971.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-fPzHosSQ8PU/UxoNbacl0pI/AAAAAAAAFS8/DXRn6VKd16Y/s1600/IMG_8615a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-fPzHosSQ8PU/UxoNbacl0pI/AAAAAAAAFS8/DXRn6VKd16Y/s1600/IMG_8615a.jpg" height="320" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mechitarist Church, Vienna, Austria.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-fdtvzkL82Ic/UxoNaIWdEMI/AAAAAAAAFSk/OSa775cJMVA/s1600/IMG_8611a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-fdtvzkL82Ic/UxoNaIWdEMI/AAAAAAAAFSk/OSa775cJMVA/s1600/IMG_8611a.jpg" height="133" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Date (1874) over the door of the church <br />
in Roman numerals and Armenian.</td></tr>
</tbody></table>
One of the first places I visited was the Mechitarist Church (seventh district), which happened to be very close to my hotel. Father Oliver visited there in June through September 1967. The Mechitarist Congregation (housed around the corner from the church) was founded in the early 18th century and follows the Rule of Benedict. The foundation in Vienna dates back to 1810. Their collection includes manuscripts going back to the 9th century! HMML filmed nearly 1200 manuscripts here, but that is only about half of the entire collection. When Father Oliver visited in 1967, only about half of the collection had been cataloged. Since the good Father knew no Armenian, he had to rely on the German translations that appeared in the existing published catalogs.<br />
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I was fortunate enough to visit briefly with the abbot of the
congregation early in my Vienna stay. Of course, with the Advent season
upon us, it was difficult for him to get away from his duties for long.
In the past decade, HMML has worked extensively with Armenian
manuscripts in other parts of the world, especially in Lebanon and
Syria. It is one of the central areas of HMML's more recent photographic
and cataloging work.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-kbySBScTJfs/UxoNb7rqoNI/AAAAAAAAFTE/NdRo0XiGEJA/s1600/IMG_8613a1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-kbySBScTJfs/UxoNb7rqoNI/AAAAAAAAFTE/NdRo0XiGEJA/s1600/IMG_8613a1.jpg" height="320" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interior of the Mecharist Church in Vienna, Austria.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
In 1967, Father Oliver again demonstrated his diplomacy and resourcefulness. The congregation was very keen to protect their cultural heritage, and was not prepared to share their manuscripts with just anyone: <br />
<blockquote class="tr_bq">
"We have to do their job during the summer months, as they can give us only an unheated room for work space. We were almost turned down at the last minute here too. When I was here a month ago to make the deal, the Abbot (he is also a titular archbishop) agreed to let us photograph their manuscripts, yielding to my entreaties because he said the microfilms would be in charge of a <u>monastery</u> over there. He added that he would not give such permission to any other institution so far away." (Letter to Julian Plante, dated June 9, 1967, from Vienna.)</blockquote>
There was still some last minute discussion whether to allow the project to proceed. Fortunately, this early photographic ecumenism succeeded in the end, and the two communities--the Benedictines of Minnesota and the Mechitarists of Austria--found a way to collaborate and provide a safety copy of over a millenium of written history. More information about this congregation is available (in German) at their website:<br />
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<div style="text-align: center;">
<a href="http://mechitharisten.org/en/">http://mechitharisten.org/en/</a></div>
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Upon completion of the project at the Mechitarist library<span style="color: blue;">--</span>later in 1967--Father Oliver and his team worked also at the Dominikanerkonvent in the first district of Vienna. There they filmed about 250 manuscripts, dating mostly from the 15th century. Unfortunately, with my rather brief tour of Vienna (in December 2013), I was not able to schedule an actual visit with the Dominican community there. I was able to see the church, however.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ruob7AQuen0/UxoNeigGu1I/AAAAAAAAFT4/yiHhHiJQNFA/s1600/IMG_9075a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ruob7AQuen0/UxoNeigGu1I/AAAAAAAAFT4/yiHhHiJQNFA/s1600/IMG_9075a.jpg" height="320" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dominicans' Church, Vienna, Austria.</td></tr>
</tbody></table>
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More information on the Viennese Dominicans can be found at:<br />
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<div style="text-align: center;">
<a href="http://www.dominikaner-wien.at/">http://www.dominikaner-wien.at/</a> (In German)</div>
<div style="text-align: center;">
<a href="http://en.wikipedia.org/wiki/Dominican_Church,_Vienna">http://en.wikipedia.org/wiki/Dominican_Church,_Vienna</a> (in English)</div>
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Toward the end of his stay in Austria, Father Oliver worked at one of
the smaller, but very interesting, collections in Vienna: the
Minoritenkonvent in the eighth district of Vienna. Although
the team was there only about 10 days (February 15 to February 25,
1971),
the collection they filmed had a special character. Of the 232
manuscripts photographed, about 160 were early modern music manuscripts.
These included pieces from the 17th and 18th centuries for church music
and instrumental music. This makes the collection one of the first
filmed by HMML that was not entirely "medieval." Unfortunately, this is one of the two libraries in Vienna that I missed seeing in December! (The other was the University library.)<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-riLLXcYLfcM/UxoNdu2OjrI/AAAAAAAAFTk/sHidslx4Y7g/s1600/IMG_8972a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-riLLXcYLfcM/UxoNdu2OjrI/AAAAAAAAFTk/sHidslx4Y7g/s1600/IMG_8972a.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Haus-, Hof- und Staatsarchiv and the Minoritenkirche facing each other across the square.</td></tr>
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By the time Father Oliver and his team finished at the Minoritenkonvent (not to be confused with the Minoritenkirche or church), the transition to a new field director was underway--Father Urban Steiner, OSB. Father Urban later continued HMML's work in Spain. The last library that I actually saw in December 2013--but did not exactly visit--was the Haus-, Hof- und Staatsarchiv, which is across the square from the Minoritenkirche, in the first district. The work here marked the sixth anniversary of Father Oliver's start at the Abbey of Kremsmünster in April 1965. Since HMML rarely photographed archival materials in Austria, the 300 manuscripts photographed here were largely "of special interest for monastic history (mostly dissolved monasteries), also other historical documents ..." (HMML files).<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-N7hE4ZyaorI/UxoNdMfafFI/AAAAAAAAFTc/xJ6ZNjE9tsw/s1600/IMG_8971a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-N7hE4ZyaorI/UxoNdMfafFI/AAAAAAAAFTc/xJ6ZNjE9tsw/s1600/IMG_8971a.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Haus-, Hof-, und Staatsarchiv in Vienna, Austria.</td></tr>
</tbody></table>
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This concludes the "live" portion of my manuscript library tour in Austria, based on my travels and visits in December 2013. Yet I hope it will not mark the end of such tours in real life! After communicating with these libraries as part of my job for the past twelve years, it was extremely pleasurable to meet the librarians, archivists and their staffs at the abbeys of Melk, Goettweig, Klosterneuburg, the Schottenstift, as well as the Austrian National Library. I can only hope that we will continue to find ways to cooperate into the future. <br />
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In the coming months, I hope to "return" regularly to Austria and retrace Father Oliver's footsteps (or van tours) by making <i>virtual</i> visits to the libraries where he worked. My hope is that we continue to see HMML's partnerships with Austrian libraries as an ongoing process, and not something that ended when the last microfilm frame was exposed over 40 years ago! When I return to the "tour" I plan to start at the Abbey of Kremsmuenster and then move on to Lambach, <a href="http://booksfromthehmmlbasement.blogspot.com/2013/07/they-shoot-manuscripts-dont-they.html" target="_blank">Seitenstetten</a>, and thus follow his path chronologically.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-xi8rhQ7pppA/Ud2qqVhIybI/AAAAAAAAC0s/A8CPJPqqHmI/s1600/Austrian001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-xi8rhQ7pppA/Ud2qqVhIybI/AAAAAAAAC0s/A8CPJPqqHmI/s1600/Austrian001.jpg" height="320" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver at Stift Seitenstetten in 1965.</td></tr>
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<tr><td style="text-align: center;"><img border="0" src="http://1.bp.blogspot.com/-VM_FB_6zOFU/UsbtDA8T_5I/AAAAAAAAEuk/9Gap9B3Y7yw/s1600/IMG_8539a.jpg" height="213" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matt Heintzelman (the short guy) at Stift Melk in 2013 (with Pater Gottfried Glassner, OSB).</td></tr>
</tbody></table>
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<span style="font-size: large;"><i><b>Peace to all on your own manuscript journeys!</b></i></span></div>
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Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-88306443582982662072014-02-22T07:40:00.001-08:002014-02-22T07:49:47.698-08:00Austrian Manuscript Library Tour, Part 5: Austrian National Library<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: small;"> <i>"repeated personal contacts and patient negotiating"</i> (Father Oliver Kapsner, OSB)</span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;"></span></span>
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-nMH_AO2SM14/UwYlOcV-tUI/AAAAAAAAFNQ/QCPFaPnq_08/s1600/IMG_8652.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-nMH_AO2SM14/UwYlOcV-tUI/AAAAAAAAFNQ/QCPFaPnq_08/s1600/IMG_8652.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;">Not the space where the manuscripts are housed! The main hall (<i>Prunksaal</i>) at </span><br />
<span style="font-family: inherit; font-size: x-small;">the Austrian National Library (Oesterreichische Nationalbibliothek) in Vienna.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Eugene Power with Father Oliver.</td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">In 1967, the outlook was somewhat bleak for the Monastic Manuscript Microfilming Project (later the Hill Museum & Manuscript Library or "HMML")--launched at Kremsmuenster Abbey in April 1965. After barely more than two years, Father Oliver Kapsner, OSB, and his two cameramen had traversed the Austrian countryside photographing medieval manuscripts at over 20 monasteries and abbeys. Tremendous gains had been registered in the work at large libraries like Klosterneuburg and Melk. Now, however, forces of opposition were gathering to slow their work.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">From the outset, the microfilming project had been opposed by the director of the Bavarian State Library, Gustav Hoffmann, and he had an influential voice. Now, with about a year-and-a-half's work left in the monastic and religious communities, new </span></span><span style="font-family: inherit;"><span style="font-size: small;">work in Austria lay in sight, but out of reach. After a temporary setback at the University of Graz, Father Oliver lamented in a letter to his library director about access to state libraries in Austria:</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"But more important, they [i.e. University of Graz staff] contacted all the other state libraries for their opinion (Nationalbibliothek in Vienna, Linz, Salzburg, Innsbruck and Klagenfurt), as they will all probably want to pursue the same policy, the usual chain reaction. Dr. [Josef] Stummvoll, director of the Nationalbibliothek, is violently opposed to the idea. He is, unfortunately, also chairman of the Austrian Library Advisory Committee for the Department of Education. And thereby hangs the tale." (Letter to Julian Plante. May 21, 1967, from Stift Rein)</span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;">The Austrian National Library (Vienna)</td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">Without access to the state-run libraries at the universities in the major Austrian cities, the Monastic Manuscript Microfilm Project might be finished early. Indeed, the team had already filmed over 7500 manuscripts in Austria, and had agreements for photographing a couple thousand more. Yet some of the largest collections could remain off-limits, and thus the preservation work would be incomplete. The opposition from Dr. Stummvoll seemed quite unrelenting, although Father Oliver saw a ray of hope for a change of leadership at the Library. So he did not give up! A few months later he reported a new contact at the Nationalbibliothek:</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"The director of the Handschriftensammlung [manuscripts collection] in the
Nationalbibliothek, Dr. Franz Unterkircher, visited us recently. He was tremendously impressed with our
moveable laboratory, the precision of operation, and above all the quality of
our finished product. Originally he was
not favorably disposed to joining our project." (</span><span style="font-size: small;">Letter to Julian Plante. October 9, 1967, from the Schottenstift)</span></span></blockquote>
<span style="font-family: inherit;"><span style="font-size: small;">This was, of course, not an agreement, only an interest, which Father Oliver and his colleague Eugene Power from University Microfilms (UMI) continued to cultivate over the next year or so.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">The Austrian National Library (Vienna)</td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">Father Oliver returned to Vienna later in 1967 to work at the Mechitarist Congregation (nearly 1200 manuscripts) and at the Dominican Cloister (nearly 250 manuscripts). He finished the year high in the Austrian Alps, at Admont Abbey. From there he reports:</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"We have now photographed 10,250 codices [since the beginning of the project in 1965], in spite of a lot of nasty camera trouble during the past six weeks, and still not in the clear. Next month we expect to learn definitely whether the Austrian state libraries can be included in our project. We are coming to the end of the monastic libraries in Austria, only four more to go, including perhaps the largest and most valuable one, namely, St. Paul in Carinthia." (</span><span style="font-size: small;">Letter to Julian Plante. February 5, 1968)</span></span></blockquote>
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<span style="font-family: inherit;"><span style="font-size: small;">In one of Julian Plante's letters to Father Oliver, he refers to being slightly confused while searching for the entrance on the Josefsplatz to the manuscript department at the Austrian National Library. In some ways, I can echo those sentiments. During my own visit in December 2013, I got a little confused, even though I had come by the library two days earlier (on the only sunny day of my entire trip to Austria) to locate just where the entrance was. I was in Austria for 8 days to participate in a Round Table discussion on digital humanities held in Krems und Stein, and my extra time went into visiting HMML's partners in and near Vienna. The Austrian National Library was my last stop on this particular library "tour."</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">I was scheduled for lunch with the retiring director of the manuscripts department, Dr. Ernst Gamillscheg, and a meeting at 2:00 pm with Dr. Andreas Fingernagel and his associate, Mag. Formann. Dr. Gamillscheg has been our contact at the library for at least the past decade. I was rushing from a delightful morning tour of the Schottenkloster with Maximilian Alexander Trofaier, and arrived right around noon at the manuscripts department. The first thing I noticed that the stairwell did not lead to an obvious reception area. The reading room is now in the Augustinersaal, which is to be found through a separate door. The manuscripts department is in a plain, white stairwell, with only the occasional sign next to the door for identification</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">Prof. Ernst Gamillscheg with the latest issue of <i>Codices Manuscripti & Impressi</i>.</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">After some ringing and knocking at the door, Dr. Gamillscheg appeared in the stairwell and swept me away to a very charming lunch back at (you guessed it) the cafe in the Schottenkloster! Our visit was primarily social, and not so much official.</span><span style="font-size: small;"> </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">After lunch I met with Dr. Fingernagel and Frau Mag. Formann in the offices of the manuscript department. We had a much more business-oriented discussion about our procedures, hopes for future cooperation and how our library can serve them and scholars better. The films produced by HMML are still used there and much appreciated. Unlike at the other libraries on my tour, I was not able to see the films themselves, which are kept in a different part of the library--remember that the reading room (the Augustinersaal) is not in the same stairwell with the offices, where we were meeting.</span></span>
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<span style="font-family: inherit;"><span style="font-size: small;">At the end of our discussion, Frau Mag. Formann showed me the room where the manuscripts are to be stored. They had been removed temporarily while the space was improved for security and environmental controls.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">Dr. Andreas Fingernagel and his colleague, Frau Mag. Ingeborg Formann.</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">I left the Austrian National Library feeling that HMML had found a great partner in 1968, when the agreement was signed. There have been occasional rough spots along the road, but HMML and the OeNB are committed to maintaining their historic collaboration. This was the last of my library visits in December 2013. I had gone to six different libraries where HMML worked (as MMML) in the 1960's, each time finding curators committed to preserving and promoting their collections.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><a href="https://plus.google.com/photos/112955289865277743856/albums/5982510016834423713" target="_blank">See more photos from the Austrian National Library.</a></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Father Oliver was not finished pestering the Austrian National Library. Indeed, again in March 1968 (only a month and a half after the previous letter), he contemplates the future of the microfilming project:</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"On April 8 I will meet with Mr. Power in Vienna to contact the Nationalbibliothek for a possible final favorable deal. <i>On this decision may depend the future of our project.</i> Latest indirect report has it that the Nationalbibliothek is not favorably inclined, though last fall they had expressed some interest, after they heard from the various monasteries that we are doing such good work." (</span><span style="font-size: small;">Letter to Julian Plante. March 26, 1968, from St. Peter's Archabbey, Salzburg)</span></span></blockquote>
<span style="font-family: inherit;"><span style="font-size: small;">He speculates that the concern is over the ownership of the images and the film negatives. As one would expect, the representatives of the Nationalbibliothek were concerned that the nation of Austria not lose control over its own patrimony.</span></span><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-h_AmwO7N3Gk/UwYlYnUxFjI/AAAAAAAAFRQ/FJ3y6MRt0fA/s1600/image0007a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-h_AmwO7N3Gk/UwYlYnUxFjI/AAAAAAAAFRQ/FJ3y6MRt0fA/s1600/image0007a.jpg" height="400" width="398" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">Father Oliver Kapsner, OSB, and his microfilming team at the Kodak offices </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">in Vienna, Austria (September 1971)</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">Finally, he reports a breakthrough in a letter to Father Colman Barry, OSB (April 26, 1968, from St. Peter's Archabbey, Salzburg):</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"On April 8 [1968] I met Mr. Power in Vienna, and together we met with the authorities of the Nationalbibliothek and, to our pleasant surprise, obtained a favorable verdict to photograph their manuscripts, barring an unpleasant surprise verdict from the Ministry of Education, not likely, I think. This is the result of three years of negotiation on the part of Mr. Power and myself, working separately, he through the photographic department to the General Directory of the Library, myself through the Director of the Manuscript Division, as both had to give their okay. People in the States should come to understand that one just doesn't walk into libraries over here for anything, much less for photographing manuscripts. <i>That can require repeated personal contacts and patient negotiating.</i>"</span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">Main entrance on the Josefsplatz for the Prunksaal of the Austrian National Library.</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;"> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">By May 17, 1968, Father Oliver was able to inform the director of MMML (later "HMML"), Dr. Julian Plante, that:</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">"The Austrian Ministry of Education has confirmed the deal with the Nationalbibliothek in Vienna, so this marks a real breakthrough into major state libraries, and gives us hope of gaining entrance to other major collections. Mr. Power says that the Nationale Bibliotheque in Paris and the Bodleian Library in Oxford are favorably inclined, but cannot give us working space. In the Nationalbibliothek in Vienna we can have working space in the huge Burg of Kaiser Franz Josef, but we have to pay for the transportation of the manuscripts, all within the same giant complex of buildings." </span><span style="font-size: small;">(May 17, 1968, from St. Peter's Archabbey, Salzburg)</span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;">Front of the Neue Burg from the Heldenplatz--here is the entrance to the regular<br />
reading room for the National Library. University students like to study here!</td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">While the hopes for work in Paris and Oxford never found fulfillment, HMML did later film collections at the national libraries in Malta, Portugal and Sweden. Indeed, the agreement with the National Library soon bore fruit at other state libraries--When the director of the <i>Studienbibliothek</i> (now the University Library) at Klagenfurt learned of this agreement, he changed his opposition to the microfilming and followed suit (described in a l</span><span style="font-size: small;">etter to Father Colman Barry, OSB. July 12, 1968, from Benedictine Abbey of St. Paul im Lavanttal).</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">In the microfilming workspace at the Austrian National Library (October 1971):</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Hans Mittmannsgruber, Father Oliver Kapsner, OSB, Julian Plante, and Paul Seger.</span></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">Work at the Austrian National Library finally started on December 7, 1968, and lasted until October 1971. In that stretch of nearly three years, MMML (HMML) photographed over 14,000 manuscripts on microfilm, including several thousand individual images in color. A large number of these are available today through HMML's online image service, Vivarium (www.hmml.org/vivarium).</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Manuscript detail from the Austrian National Library (Codex Vindobonensis Palatinus) in Vivarium.</td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">Father Oliver's love for Austria ran deep. The Cold War "raged" around the Alpine nation, and among the unnerving events of 1968 (the assassination of Robert Kennedy, violence at the Democratic convention in Chicago, etc.), he wrote in a l</span><span style="font-size: small;">etter to Father Colman Barry, OSB (August 27, 1968, from the Benedictine Abbey of St. Paul im Lavanttal) about the preparations for work at the Austrian National Library, but included his own concerns for the Austria's safety after the Soviet invasion of Czechoslovakia:</span></span><br />
<blockquote class="tr_bq">
<span style="font-family: inherit;"><span style="font-size: small;">"Poor, dear little Austria, wedged in as it is between three uncertain Communist countries, is all on edge these days because of the upheaval in its neighbor to the north, Czechoslovakia. Another country for which to pray--so much to pray for these days."</span></span></blockquote>
<span style="font-family: inherit;"><span style="font-size: small;">Indeed, it is hard for HMML to develop relationships with its partner libraries/communities without simultaneously feeling deep concern for the well-being of its friends across the globe.</span></span><br />
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* * * * * *</div>
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<br />
<b><span style="font-family: inherit;"><span style="font-size: small;">Learn more about the manuscript collections at the Austrian National Library at: </span></span></b><br />
<b><span style="font-family: inherit;"><span style="font-size: small;"><a href="http://www.onb.ac.at/ev/collections/had.htm">http://www.onb.ac.at/ev/collections/had.htm</a></span></span></b><br />
<b><span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></b>
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><b>or follow the Austrian National Library on Facebook (in German): </b></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><b><a href="https://www.facebook.com/nationalbibliothek">https://www.facebook.com/nationalbibliothek</a></b></span></span>
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<b><span style="font-family: inherit;"><span style="font-size: small;">Peace to all.</span></span></b></div>
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-15106461554880748502014-01-31T11:11:00.001-08:002014-01-31T11:11:18.646-08:00Austria Manuscript Library Tour, part 4: Schottenstift in Wien<blockquote class="tr_bq">
"The monastery here in the heart of a large city is surprisingly quiet, thanks to being ringed by a huge five-storey structure filled with shops, offices and apartments. And it is even somewhat cool, compared to the streets." (Father Oliver Kapsner, OSB; July 19, 1966)</blockquote>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-m-iZMcKoVHc/Uuvf4C_rvhI/AAAAAAAAE68/Sskn5YDOW5A/s1600/Father+Oliver+%2528Schottenstift%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-m-iZMcKoVHc/Uuvf4C_rvhI/AAAAAAAAE68/Sskn5YDOW5A/s1600/Father+Oliver+%2528Schottenstift%2529.jpg" height="320" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB, in his "monastic cell" at the Schottenstift (Vienna) in 1969. <i><br />From the back of the photo: "My monastic cell in the Schottenstift, and the chair in which you [Julian Plante?] sat, and, yes, the typewriter with which you made friends. The picture was taken with the little 3M Japanese camera which the Heckmans brought. Even the title of the book which I am perusing is discernable: Westermans Weihnachtsbuch."</i></td></tr>
</tbody></table>
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So far, I have been following my path through a number of libraries where the Hill Museum & Manuscript Library (under its earlier name: Monastic Manuscript Microfilm Library) worked in the 1960's. Excursions in December 2013 took me to the libraries at <a href="http://booksfromthehmmlbasement.blogspot.com/2013/12/austrian-manuscript-library-tour-part-1.html" target="_blank">Stift Göttweig</a>, <a href="http://booksfromthehmmlbasement.blogspot.com/2014/01/austrian-manuscript-library-tour-part.html" target="_blank">Stift Melk</a>, <a href="http://booksfromthehmmlbasement.blogspot.com/2014/01/austrian-manuscript-library-tour-part-3.html" target="_blank">Stift Klosterneuburg</a>, the Schottenstift, and the Austrian National Library. Today's tour is at the Schottenstift.<br />
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When Father Oliver first came to Vienna in July 1966 (after working at the abbeys of Kremsmümster. Lambach, Seitenstetten, Melk, Sankt Florian, Reichersberg, Wilhering, Schlägl, Herzogenburg, and Göttweig), he moved into a room at the Schottenstift, where he and his two associates (Paul Seger and Hans Berger) photographed 439 manuscripts in about a month and a half! Always on the move, Father Oliver and his team continued their work at abbeys in Lilienfeld, Heiligenkreuz, Neukloster (Wiener Neustadt), and Klosterneuburg in the same year.<br />
<br />
The Schottenstift collection was by no means the largest of these, but it is a large collection, with many important early manuscripts. The name itself is a misnomer--founded by Irish monks in the 12th century, who later left Vienna in the 15th century. So there never were "Scottish" monks at the abbey, and those monks who were of Celtic origin left long ago! For a cogent explanation of the name, see the Wikipedia article on the <a href="http://en.wikipedia.org/wiki/Schottenstift,_Vienna" target="_blank">Schottenstift</a>.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3SrtGp-PSt0/UubGi8EDDBI/AAAAAAAAE4s/87vfOBs9NKo/s1600/IMG_8982a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-3SrtGp-PSt0/UubGi8EDDBI/AAAAAAAAE4s/87vfOBs9NKo/s1600/IMG_8982a.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mag. Maximilian Alexander Trofaier, showing one of the more impressive <br />illustrated manuscripts at the Schottenstift.</td></tr>
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I visited the Schottenstift on the morning of my third day in Vienna. Since I also had appointments later that day at the Austrian National Library, I needed to be very punctual in my arrival. I was met by Mag. Maximilian Alexander Trofaier, a professionally trained archivist who only fairly recently was put in charge of the manuscript collection. His first duties at the Schottenstift were to administer the archival collections, and only in the past couple years have the manuscripts moved from the aegis of the library to the archives. So, now he administers both. His enthusiasm for the materials was quite infectious and I found our morning tour to pass only too quickly.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-SJghnUvY2zM/UubGfw8EiFI/AAAAAAAAE4U/UuJRt-dpXuc/s1600/IMG_8979.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-SJghnUvY2zM/UubGfw8EiFI/AAAAAAAAE4U/UuJRt-dpXuc/s1600/IMG_8979.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The manuscript room at the Schottenstift.</td></tr>
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Mag. Trofaier also led me to other parts of the collections and I was able to visit the main library hall, which lies entirely within the cloister and thus is not a regular part of tours of the monastery.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-y4h8-Guzusc/UubGoIW2doI/AAAAAAAAE5U/BWgoEdys5Fg/s1600/IMG_8987.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-y4h8-Guzusc/UubGoIW2doI/AAAAAAAAE5U/BWgoEdys5Fg/s1600/IMG_8987.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The main library hall at the Schottenstift.</td></tr>
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<a href="http://3.bp.blogspot.com/-YsnvNUZpd04/UubGp2BUXfI/AAAAAAAAE5k/XrkcJ4jwR38/s1600/IMG_8990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-YsnvNUZpd04/UubGp2BUXfI/AAAAAAAAE5k/XrkcJ4jwR38/s1600/IMG_8990.jpg" height="320" width="213" /></a></div>
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As he explained, this particular monastery underwent a major re-building phase much later than some of the other monasteries in Austria. Stift Göttweig, Stift Klosterneuburg and Stift Melk were radically redesigned and rebuilt in the first half of the 18th century, when Baroque architecture--with its sometimes extravagant decoration--was the dominant artistic style. The Schottenstift, however, is the product of a much more restrained "Classicist" style from the early 19th century. As such, its main hall is designed less to make an impression on visitors than it is to serve the intellectual needs of the monastic community at the Schottenstift.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ztie6ThH60I/UubGfMiiohI/AAAAAAAAE4M/hjfi9OccOm8/s1600/IMG_8978.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-ztie6ThH60I/UubGfMiiohI/AAAAAAAAE4M/hjfi9OccOm8/s1600/IMG_8978.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML's microfilm in storage in the curator's office at the Schottenstift.</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ndYXeLAaDZE/UubGlFwaq3I/AAAAAAAAE48/8WhZoTAXoGo/s1600/IMG_8984.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ndYXeLAaDZE/UubGlFwaq3I/AAAAAAAAE48/8WhZoTAXoGo/s1600/IMG_8984.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An older microfilm reader, currently not in use, at the Schottenstift. <br />HMML left readers like this at all of the libraries where it worked.</td></tr>
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During the time that Father Oliver was at the Schottenstift, his team passed two noteworthy milestones: more than 4000 manuscripts microfilmed in Austria, and amazingly over one million exposures with manuscript pages. They achieved these totals after only about 1 1/3 years of the project! Of course, the ledger book from those days show that they often worked 50-60 hours in a five-day work week, producing thousands of photographs every week.<br />
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Father Oliver must have found the accommodations at the Schottenstift much to his liking. Records show that he returned in 1967 during the project to microfilm manuscripts at the Mechitaristenkongregation in Vienna, and again for several months starting on January 1, 1969, during the microfilming at the Austrian National Library. Eventually, Father Oliver retired as the field director, and a younger monk was found to replace him--Father Urban Steiner, OSB. I close with two photos from 1971, also taken at the Schottenstift, during Father Oliver's final days there.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-HueSibc15fw/UuvgCAxzYCI/AAAAAAAAE7M/V-vxP441Z9M/s1600/Kapsner+and+Steiner+%2528Schottenstift%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-HueSibc15fw/UuvgCAxzYCI/AAAAAAAAE7M/V-vxP441Z9M/s1600/Kapsner+and+Steiner+%2528Schottenstift%2529.jpg" height="320" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB, sharing a drink with <br />Father Urban Steiner, OSB, at the Schottenstift in 1971.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-HhdbRTGExsU/UuvgDJ3EwoI/AAAAAAAAE7U/waszONkV3NM/s1600/Plante+and+Kapsner+%2528Schottenstift%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-HhdbRTGExsU/UuvgDJ3EwoI/AAAAAAAAE7U/waszONkV3NM/s1600/Plante+and+Kapsner+%2528Schottenstift%2529.jpg" height="318" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB, visiting with Dr. Julian Plante at the Schottenstift in 1971. <br />Note the "monastic" garb worn by Dr. Plante!</td></tr>
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More pictures from the Schottenstift can be found at the Facebook page for the <a href="https://www.facebook.com/pages/Austria-Germany-Study-Center-Hill-Museum-Manuscript-Library/604882972899463" target="_blank">Austria-Germany Study Center</a>.<br />
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Next time--on to the Austrian National Library!<br />
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Until then, peace to all!<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-8965819771097705022014-01-19T17:46:00.002-08:002014-01-19T17:46:31.915-08:00Austrian Manuscript Library Tour, part 3: Stift Klosterneuburg<blockquote class="tr_bq">
"I expect to be stationed here till the end of January. The manuscript collection (1250) is extensive and impressive." Father Oliver Kapsner, OSB, in a letter dated November 20, 1966.</blockquote>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-abCgQjDk5sI/UtWtSkFCaDI/AAAAAAAAE00/-SkbsIWH7_k/s1600/IMG_8923.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-abCgQjDk5sI/UtWtSkFCaDI/AAAAAAAAE00/-SkbsIWH7_k/s1600/IMG_8923.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Schatzkammer at Stift Klosterneuburg. About a week after I took this photo, <br />
Julie Andrews came here to host the New Year's concerts from Vienna!</td></tr>
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So, of course, I was running late on Monday morning (December 16, 2013). In the rush, I grabbed the wrong bus at the Heiligenstadt train station and found myself on the way to the Leopoldsberg, not Klosterneuburg. As soon as I realized my mistake, I climbed off the bus and took the next one back to Heiligenstadt, where I took a train instead. Fortunately, I only arrived a half-hour late. My host, Martin Haltrich, was patiently waiting and offered me coffee. Since I had another appointment in the afternoon, I really needed to be more careful with my time!<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-4K5AnZ8ZW6U/UtWtCK893CI/AAAAAAAAE0M/KnVjKqsQW58/s1600/IMG_8897.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-4K5AnZ8ZW6U/UtWtCK893CI/AAAAAAAAE0M/KnVjKqsQW58/s1600/IMG_8897.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reels of microfilm from HMML at <br />
Klosterneuburg.</td></tr>
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47 years earlier, another representative of Saint John's paid a (much longer) visit to this Augustinian abbey in the outskirts of Vienna. From a letter dated October 16, 1966, Father Oliver Kapsner, OSB, indicated that he and his team had moved to Klosterneuburg around October 11, 1966. They would work there until February 2, 1967. In about five months, the film crew photographed nearly 1300 manuscripts, making this the second largest collection preserved in Austria (after only the Austrian National Library).<br />
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As with much of Father Oliver's correspondence, the concern about weather played on Father Oliver's thoughts:<br />
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<blockquote class="tr_bq">
"Winter struck <i>plötzlich </i>["suddenly"] on October 30, with the first snowfall, and it has been winter ever since, unusually early for Austria, very much so. There are bad snowdrifts in various parts of Austria, with 23 lives lost, mostly because of avalanches." (November 20, 1966)</blockquote>
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I, too, arrived in the depths of winter, but to much milder conditions. The day was cold, but not so bitter, and almost no snow was in evidence. Instead, I was treated to a fabulous tour of the manuscript areas and the main library. As with other libraries I visited, the manuscripts are not stored in the main library space, but are in a more protected side area, with special covers on the cases to reduce exposure to sunlight.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-IsdLa1UR94E/UtWs9aT4S4I/AAAAAAAAEzg/urFFtVsDaEQ/s1600/IMG_8887.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-IsdLa1UR94E/UtWs9aT4S4I/AAAAAAAAEzg/urFFtVsDaEQ/s1600/IMG_8887.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin Haltrich, the librarian responsible for manuscripts at Klosterneuburg, <br />
with one of the prized volumes.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-RNow9M3t9ds/UtWs-5hHqGI/AAAAAAAAEzc/69knoB-1dPk/s1600/IMG_8888.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-RNow9M3t9ds/UtWs-5hHqGI/AAAAAAAAEzc/69knoB-1dPk/s1600/IMG_8888.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What's inside such a large volume? Illuminated initials, for one thing.</td></tr>
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Indeed, one of the surprises (for me, at least) was the different approach to environmental controls for storage, not only at Klosterneuburg, but also elsewhere in Austria. While the extreme climate in much of the United States requires special climate controls to protect against excessive heat, humidity, and/or lack thereof, in Austria the conditions are mild enough that the temperature and humidity levels stay quite well within the limits that books and manuscripts want. Even in the worst of heat waves, the rooms stayed at a comfortable temperature!<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-L2VMxC1Z6dk/UtWs8kif3jI/AAAAAAAAEzI/QUT7bV_H4LY/s1600/IMG_8884.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-L2VMxC1Z6dk/UtWs8kif3jI/AAAAAAAAEzI/QUT7bV_H4LY/s1600/IMG_8884.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shelving area in the Klosterneuburg Library.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-PvllLay3klI/UtWtCLxVyBI/AAAAAAAAE0A/aQR0YKG6nnc/s1600/IMG_8895.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-PvllLay3klI/UtWtCLxVyBI/AAAAAAAAE0A/aQR0YKG6nnc/s1600/IMG_8895.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The main hall of the library.</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-N5w3d9U7cag/UtWtCHoTCYI/AAAAAAAAE0E/yNBVzRr4SSo/s1600/IMG_8896.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-N5w3d9U7cag/UtWtCHoTCYI/AAAAAAAAE0E/yNBVzRr4SSo/s1600/IMG_8896.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A "quick-ref" desk with several books ready for consultation.</td></tr>
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The milder weather possibly contributed to another aspect of life in Austria, the reduced need to use large amounts of heat in other buildings as well. Father Oliver described his experiences with Klosterneuburg temperatures as follows:<br />
<br />
<blockquote class="tr_bq">
<a href="http://2.bp.blogspot.com/-NzLPawcIkYI/UtWtcW2QKVI/AAAAAAAAE1k/b6TVT3r1blg/s1600/IMG_8937.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-NzLPawcIkYI/UtWtcW2QKVI/AAAAAAAAE1k/b6TVT3r1blg/s1600/IMG_8937.jpg" height="320" width="213" /></a>"The wood stove is afire in my room to help keep me warm during the daytime, and there is the usual feather tick for comfort at night. But the huge stone church is a cold, cold place. Completely unheated all winter, this otherwise beautiful house of God will [be] getting colderer and colderer [sic] week by week. I am always glad when we are finished with the longer morning prayers there."</blockquote>
But later he elaborates: <br />
<br />
<blockquote class="tr_bq">
"Here we have daily concelebration, which helps some. The concelebration is beautiful, with a different form every day: deutsche Betmesse, deutsche Singmesse, chanted Mass, and mass with the Canon chanted by the concelebrants."</blockquote>
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For me, the most beautiful part of his description is the fact that he became a part of the <i>community</i> during his stay there. He not only lived and worked at the Abbey, but he also found a way to be part of the liturgical life. What better way can there be to demonstrate respect and openness to another community?<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-FHMLNFv4SPs/UtWtaclcQyI/AAAAAAAAE1c/iH57Vou_Kbk/s1600/IMG_8935.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-FHMLNFv4SPs/UtWtaclcQyI/AAAAAAAAE1c/iH57Vou_Kbk/s1600/IMG_8935.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The outside of the Abbey church at Klosterneuburg.</td></tr>
</tbody></table>
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Curiously, it was during Father Oliver's stay at Klosterneuburg Abbey that a subject first appears in the library's correspondence files, a subject that continues to occupy us to this day--<b>Computers</b>! While there were no plans to "digitize" the manuscripts (such options did not exist in 1966), the new director of the Monastic Manuscript Microfilm Library (later "HMML"), Dr. Julian Plante, raised the issue of using computers to create a provisional catalog to expedite scholarly access to the collections:<br />
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<blockquote class="tr_bq">
"Father Fintan estimated that for $3,500.00 the provisional inventory (the cards you type) of the almost 5,000 projects now on hand could be placed on computer cards and provisional catalogs produced according to author, subject, incipit, title, date, project number, and codex number. This work could probably be completed by July of 1967."(Julian Plante, December 15, 1966)</blockquote>
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He goes on to list advantages and disadvantages to pursuing this proposal, before summarizing his intentions in turning to digital resources:<br />
<blockquote class="tr_bq">
"Well, Father Oliver, these are a few of the ideas we've been toying with. Our aim is speedy availability with the highest possible accuracy and at the most economical cost. Furthermore, such computerizing will significantly aid me in preparing the final catalog." </blockquote>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-IHcd5tGYA0o/UtWs8rZXeqI/AAAAAAAAEzM/9RBNjGutQgQ/s1600/IMG_8885.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-IHcd5tGYA0o/UtWs8rZXeqI/AAAAAAAAEzM/9RBNjGutQgQ/s1600/IMG_8885.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Today we have found new uses for computers with manuscripts. <br />Here a mobile photography studio set up in one of the side rooms at the Klosterneuburg Abbey library.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-KhcEDcIU2gg/UtWs8tUKsFI/AAAAAAAAEzE/QkoYNSBWNLg/s1600/IMG_8886.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-KhcEDcIU2gg/UtWs8tUKsFI/AAAAAAAAEzE/QkoYNSBWNLg/s1600/IMG_8886.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What would Father Oliver have thought of this set-up? Much smaller than a microfilm camera.</td></tr>
</tbody></table>
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Father Oliver responded rather positively in a letter dated January 4, 1967:<br />
<blockquote class="tr_bq">
"All told, balancing advantages and disadvantages, it looks okay to use the computer in order to make the material in the microfilm collection quickly available in some form. It will take a long time to catalog the microfilm collection, which is expanding rapidly, adequately."</blockquote>
Thirty years later, in the 1990's, the online catalog at HMML came fully into being through the efforts of the EAMMS project (Electronic Access to Medieval Manuscripts). Indeed, the core data in the HMML online catalog comes from these very same inventory cards that were being discussed in 1966! In a nice touch of irony, we today have nicknamed this catalog OLIVER, and in many ways it is the digital fulfillment of Father Oliver's work in Austria!!<br />
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_______________________________</div>
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In that same letter, Oliver demonstrated his underlying pleasure in the Christmas experience which he greatly enjoyed during his stay at Klosterneuburg:<br />
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<br />
<blockquote class="tr_bq">
<a href="http://cdm.csbsju.edu/utils/ajaxhelper/?CISOROOT=HMMLClrMicr&CISOPTR=16957&action=2&DMSCALE=40&DMWIDTH=320&DMHEIGHT=484&DMX=0&DMY=0&DMTEXT=klosterneuburg&DMROTATE=0" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" id="tileImage_40_0_0_320_484" src="http://cdm.csbsju.edu/utils/ajaxhelper/?CISOROOT=HMMLClrMicr&CISOPTR=16957&action=2&DMSCALE=40&DMWIDTH=320&DMHEIGHT=484&DMX=0&DMY=0&DMTEXT=klosterneuburg&DMROTATE=0" width="211" /></a>"Here
we are, off in the New Year. The peace of Christmas was all in my heart,
not on my desk. Though outdoors there was snow on the ground and on the
ubiquitous evergreen branches, internally the Austrian Christmas was
full of warmth, traditionally so. I hope they can keep it so." (January 4, 1967)</blockquote>
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While not as dramatic, my Advent 2013 experiences at Klosterneuburg are also ones that I will not soon forget!<br />
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<div style="text-align: center;">
<b>Peace to the Community at the Abbey in 2014--the 900th anniversary of their founding!</b></div>
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<blockquote class="tr_bq">
Learn more about the library at Klosterneuburg Abbey at:<br />
<a href="http://www.stift-klosterneuburg.at/kultur/geschichte-kunst/stiftsbibliothek/">http://www.stift-klosterneuburg.at/kultur/geschichte-kunst/stiftsbibliothek/</a><br />
(in German)</blockquote>
Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-39920243468611223732014-01-03T11:29:00.002-08:002014-01-03T13:21:36.232-08:00Austrian Manuscript Library Tour, Part II: Stift Melk<blockquote class="tr_bq">
"No central heating here yet (it will be coming, as in some other
monasteries), still individual stoves in the monastic cells (their wood
supply, pine, is endless). The library, manuscript room and church are
never heated. No electric light either in the library and adjacent
manuscript room. ... The manuscript collection is large and excellent, 1800 mss., of which about 1200 will fall within our scope."(<i>Father Oliver Kapsner, OSB, to Father Benjamin Stein, OSB, in a letter from Melk Abbey dated October 22, 1965</i>)</blockquote>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qA73eTZpqYc/UsbtI7-EPJI/AAAAAAAAEvU/o-h9B04q5PU/s1600/IMG_8559.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-qA73eTZpqYc/UsbtI7-EPJI/AAAAAAAAEvU/o-h9B04q5PU/s1600/IMG_8559.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The main hall of the library at Stift Melk.</td></tr>
</tbody></table>
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Over the past twelve years, I have explained the work of the Hill Museum & Manuscript Library (HMML) as a mission to preserve manuscripts (which seemed to be self-evident to me at the time) and as a service to scholars around the world. In recent years, we have started to describe HMML as a library of libraries (or "meta-library"); that is, we act as a steward of materials that belong to other libraries. Nowadays I like to look at HMML's role more as a library of <i>relationships </i>with other communities around the world--based on the core Benedictine love of books and the core Benedictine value of respect toward others.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-NdeGf3_DW7s/UsbtA7zDHyI/AAAAAAAAEuI/OT-R_8Ggvqo/s1600/IMG_8534.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-NdeGf3_DW7s/UsbtA7zDHyI/AAAAAAAAEuI/OT-R_8Ggvqo/s1600/IMG_8534.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Christine Glassner (from the Austrian Academy of Science) with her brother, Pater Gottfried Glassner, OSB, the librarian at Melk Abbey--at his office in the library. Note the Macintosh computer on his desk!</td></tr>
</tbody></table>
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One of the more important of these relationships for Saint John's Abbey has been that with the <a href="http://www.stiftmelk.at/englisch/index.html" target="_blank">Abbey of Melk</a> in Austria (<i>in the following, "Stift" and "abbey" are used interchangeably</i>). In fact, not only did HMML microfilm their medieval manuscripts in late 1965, but in the following year the two institutions started an exchange program for students at their respective secondary schools. Their common mission of teaching continues today (see: <a href="http://www.sjprep.net/academics/study-abroad/" target="_blank">http://www.sjprep.net/academics/study-abroad/</a>). This second level of relationship came to my attention during my visit to Melk on December 14, 2013, when my host and guide (Pater Gottfried Glassner, OSB, and his sister, Dr. Christine Glassner) explained to me that they know Father Mark Thamert, OSB (from St. John's Abbey), who was a student there in the 1960's and that their younger brother had also spent time at the Saint John's Preparatory School as part of the exchange program.They also hosted one student at Christmas in 1967.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-6TUQHrmKUcs/UsbsXl6cR2I/AAAAAAAAEss/v4U_dK6XLfc/s1600/B-031+%25281976%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-6TUQHrmKUcs/UsbsXl6cR2I/AAAAAAAAEss/v4U_dK6XLfc/s1600/B-031+%25281976%2529.jpg" height="320" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melk Abbey in 1976.</td></tr>
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I have actually visited Melk numerous times--this was at least my fourth time there. Already in 1976 (barely a decade after Father Oliver), I came with a group of students from the University of Notre Dame. We stopped at Melk on our way from Salzburg to a weekend in Vienna. At that time, the buildings had lost some of their external lustre, although this has since been thoroughly restored.<br />
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I later returned to Melk (in 1980) as part of training for a group of foreign language teaching assistants who were assigned to various secondary schools around Austria. Because we had not received Fulbright scholarships (although the program was also administered through the same office), we were called "half-brighters" (i.e., we had to earn our keep by teaching).<br />
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I later visited Melk again when I was riding my bicycle through the Wachau in 1982 (see photo in my previous blog post on Stift Göttweig)<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-IRoCraQNC6c/UsbsU1jRejI/AAAAAAAAEsY/0qNsw-hdL3c/s1600/Austria-02-16+%25281980%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-IRoCraQNC6c/UsbsU1jRejI/AAAAAAAAEsY/0qNsw-hdL3c/s1600/Austria-02-16+%25281980%2529.jpg" height="217" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melk Abbey in 1980.</td></tr>
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In coming to Melk this time, I was re-tracing the footsteps of the first field director of HMML, Father Oliver Kapsner, who lived at Melk for over three months (September to December 1965), while overseeing the microfilming of their manuscript collection. During that time, he also played host to the president of Saint John's University, Father Colman Barry, OSB, and to Eugene Power, the representative of University Microfilms, the technological support for the microfilming project in Austria. Father Oliver teased Father Colman:<br />
<br />
<blockquote class="tr_bq">
"To let you get the feel of our project, we may allow you to carry several armfuls of codices up two flights of circular stairways and along a mile corridor to our workroom." (Father Oliver Kapsner, OSB, to Father Colman Barry, OSB, dated October 19, 1965)</blockquote>
With the proximity to the feast of Halloween, Father Oliver even invoked a somewhat spooky image for Father Colman:<br />
<br />
<blockquote class="tr_bq">
"You will probably also want to spend several hours in meditation in the frigid church before the tomb of St. Columban, who may rise to the occasion by lifting the lid of his tomb to greet you personally. One can never tell what these humble but foxy and omnipotent saints will do next." (Father Oliver to Father Colman, dated October 19, 1965)</blockquote>
Melk was the fourth library on Father Oliver's schedule, but they were third Austrian abbey to agree to the microfilming (after Kremsmünster and Seitenstetten). Their massive collection doubled the number of manuscripts microfilmed up to that point in the project, and proved a fitting end to the year 1965, the founding year of the Monastic Manuscript Microfilm Project (today's "HMML"). In more recent years, the microfilms have been heavily used for cataloging the collection at Melk. Dr. Christine Glassner described how she could undertake the codicological description of the manuscripts on-site at Melk, but needed print resources to catalog the contents of the manuscripts. For this, she could take the microfilms to research centers in Vienna and work there with the <i>Patrologia Latina</i> and other resources.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-l6I8uREaOxM/Usbs_DgA3eI/AAAAAAAAEuA/nw6PZ7T-Pfg/s1600/IMG_8530.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-l6I8uREaOxM/Usbs_DgA3eI/AAAAAAAAEuA/nw6PZ7T-Pfg/s1600/IMG_8530.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Christine Glassner shows the microfilms at Melk Abbey, filmed by HMML in 1965. Dr. Glassner has used the films extensively over the past several years while cataloging the Melk manuscript collection.</td></tr>
</tbody></table>
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Like Father Oliver, I was able to visit Melk Abbey late in the year, in fact, almost exactly 48 years after he finished his work there. It was very cool the day I visited, but overall the day was extremely pleasant and not too chilly. Father Oliver's comments are more foreboding:<br />
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<blockquote class="tr_bq">
"The name of the Gymnasium Direktor at Melk is Koloman. According to sacred tradition they begin to head the individual stoves in the monastic cells "nach Koloman," [i.e., after the feast of St. Koloman] and so they did, on October 15. We had been having light frosts for the whole week previous, and fog, fog, fog. People are busy sawing and splitting wood for the coming winter months. The monastic corridors are lined with piles of wood." (Father Oliver to Father Colman, October 19, 1965)</blockquote>
How I wish I had a photograph of the firewood in the corridors! But for me, photos of the library will have to do. The beautiful main hall is part of every tourist's stop at Melk, and it is certainly worth the effort. Built in the early 18th century, it forms part of the wings next to the abbey church, toward the Danube river.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-VM_FB_6zOFU/UsbtDA8T_5I/AAAAAAAAEuk/9Gap9B3Y7yw/s1600/IMG_8539a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-VM_FB_6zOFU/UsbtDA8T_5I/AAAAAAAAEuk/9Gap9B3Y7yw/s1600/IMG_8539a.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In the library at Melk Abbey, with Pater Gottfried.</td></tr>
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Of course, one of the main reasons to get to know the librarian at any library is for the opportunity to see what other tourists don't! Indeed, the librarian who worked with Father Oliver, Father Burkhard Ellegast, OSB, later became the abbot of Stift Melk (1975-2001)! In my case, however, I was blessed to have the opportunity to see the spaces where the manuscripts are stored, as well as numerous other areas in the serpentine halls of the Melk library where books are stored. I can only say that I could spend years investigating the books on the shelves in all of the rooms that form the other parts of the library!<br />
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<tr><td style="text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-72nYgXkAyjw/UsbtKDg6K4I/AAAAAAAAEv0/L3xWMYIxLHg/s1600/IMG_8561.jpg" height="266" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">False books on the shelves at Melk!</td></tr>
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There are other aspects to library work besides books, of course. One relates to the overall design or architecture of the space. One notices readily that the books in the main hall are bound in a way to match the architecture of the space, thus lending the whole a uniformity and cohesiveness that goes beyond the text on the pages. In fact, this harmony is supported by "books" with no texts at all! </div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-uG8bN5-1wSA/UsbtJ-eBsgI/AAAAAAAAEvk/wd4cuy9iLGo/s1600/IMG_8560.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-uG8bN5-1wSA/UsbtJ-eBsgI/AAAAAAAAEvk/wd4cuy9iLGo/s1600/IMG_8560.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pater Gottfried demonstrates some of the pseudo-book bindings from the main library hall.</td></tr>
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As it so happens, the shelves at the very top of the main Baroque library hall are too narrow to fit real books. So, to preserve the harmony of the architectural space, the 18th-century designers installed pseudo-books, resembling the spines of books, each with its own title. My suggestion for a dissertation topic might be for a student to collect the "titles" and "authors" in this imaginary library collection and see what kinds of literature was created this way.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wtjhVV8u5p4/Ud2qqaD-79I/AAAAAAAAC0k/zFrz2wuTTsc/s1600/Austrian002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-wtjhVV8u5p4/Ud2qqaD-79I/AAAAAAAAC0k/zFrz2wuTTsc/s1600/Austrian002.jpg" height="253" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Father Oliver Kapsner, OSB, at his typewriter, while working at Seitenstetten in 1965.</td></tr>
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Of course, Father Oliver was not at Melk to be a tourist, or even a simple worker. He was, in a way, fulfilling the Benedictine motto of "ora et labora" (pray and work). As a fellow Benedictine, he was able to fit into the life pattern at the monastery quite well, and dedicate his time to his special project, even in the chill of late autumn and winter:<br />
<blockquote class="tr_bq">
"On Benedictine All Saints we had the first snow, and it has been winter ever since, somewhat premature for this part of the world. So, after a long winter last year, well into May, followed by a wet, cold and cloudy summer, then a bit of September, we are started with the new winter. The wood-coal stove in my monastic cell warms the room most of the day (I type four to five hours daily) but I have to let the fire die down in the afternoon so that the ashes can be cleaned about five o'clock and the fire lit again the next morning." (Father Oliver Kapsner, OSB, to Father Benjamin Stein, OSB, dated November 21, 1965)</blockquote>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-SbmGFOybvIg/Usbs-EOsoHI/AAAAAAAAEtw/pZZmOqsoKQQ/s1600/IMG_8527.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-SbmGFOybvIg/Usbs-EOsoHI/AAAAAAAAEtw/pZZmOqsoKQQ/s1600/IMG_8527.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melk Abbey in December 2013.</td></tr>
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Finally, Father Oliver had to move on to his next work site, the Augustinian abbey of Sankt Florian, but before he left, he celebrated Christmas with the monks at Melk:<br />
<blockquote class="tr_bq">
"Many thanks for forwarding Christmas mail. We finished here today. The Abbot of Melk wants me to stay here for Christmas and be one of the six priests available for their first concelebration at Midnight Mass. Normally there are a total of twelve priests in this massive abbey, two of whom are over 80, the retired abbot, 83 yrs. old, who can only shuffle along, and Father Richard, 81 yrs. old, who is half blind and no longer celebrates Mass." (letter from Father Oliver Kapsner, OSB, to Father Benjamin Stein, OSB, dated December 23, 1965)</blockquote>
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<i>In conclusion, I wish to thank my hosts for their generous gift of time and attention during my visit to Stift Melk, and beyond that, I wish to thank the community at Melk for their long-term collaboration and friendship with Saint John's! </i><br />
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More pictures from my December 2013 visit to Melk can be seen <a href="https://plus.google.com/photos/112955289865277743856/albums/5964714595839131713?banner=pwa" target="_blank">here</a>.<br />
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Next time: Stift Klosterneuburg!<br />
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-86211474254724066872013-12-27T13:25:00.001-08:002014-01-09T06:43:45.496-08:00Austrian Manuscript Library Tour, Part 1: Stift Göttweig<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HPXrUuhzkjk/Uqs18sPkD0I/AAAAAAAAEP4/ORxmo4BgXCQ/s1600/IMG_8406.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-HPXrUuhzkjk/Uqs18sPkD0I/AAAAAAAAEP4/ORxmo4BgXCQ/s1600/IMG_8406.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Codex manuscripts on the shelf.</td></tr>
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<blockquote class="tr_bq">
"A pleasant place to stay, good air to breathe, quiet peaceful atmosphere, and a magnificent view over the Danube Valley. The <i>Stift</i> is 400 ft. above the highway." (<i>Father Oliver Kapsner, OSB, in his report on Stift Göttweig from 1966</i>)</blockquote>
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Sometime in April or May 1966, HMML's first field director, Father Oliver Kapsner, OSB, arrived at the <a href="http://www.stiftgoettweig.at/" target="_blank">Abbey of Göttweig</a> ("Stift Göttweig") in Lower Austria, on the south bank of the Danube--near the town of Krems und Stein. While we do not have a date for his arrival, he indicated a closing date of July 1, 1966 (having finished at his previous site of Stift Herzogenburg on April 17, 1966). He further states that the Benedictine abbey has "a major collection, both as to size and quality. Its excellence can be seen both in variety and depth." Our records show that 542 manuscripts were photographed with black/white microfilm there, including many individual items in color (you can find nearly 1500 digital images by searching Göttweig in <a href="http://www.hmml.org/vivarium.html" target="_blank">Vivarium</a>, or clicking <a href="http://cdm.csbsju.edu/cdm/search/collection/PersonalCol!ArcaArt!HMMLCollect!HMMLClrMicr!SJRareBooks/searchterm/gottweig/field/all/mode/all/conn/and/order/title/ad/asc/cosuppress/" target="_blank">here</a>).<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-HpglZMnkvtg/Uqs12tr7xpI/AAAAAAAAEPs/BYfqoHzTlp8/s1600/IMG_8405.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-HpglZMnkvtg/Uqs12tr7xpI/AAAAAAAAEPs/BYfqoHzTlp8/s1600/IMG_8405.JPG" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Feeling very close to the ninth century - at Stift Göttweig.</td></tr>
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Earlier this month (December 2013), I had the great pleasure to visit Stift Göttweig, meet the curator and his staff, as well as the monastery's archivist. I was in Krems, Austria, for a round table discussion on digital humanities and the future direction of digital resources and environments. A colleague from the round table's hosting institution--the <i>Institut für Realienkunde des Mittelalters und der frühen Neuzeit</i>--volunteered to drive me from Krems to Göttweig. Considering the difficult transit connections between the two (Father Oliver provides precise directions to get there by train and bus), I was grateful for the offer.<br />
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Of course, in another life (or season) I might have taken a different means of transportation.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-1ki7LLnH5oM/Ur3ZxETWCkI/AAAAAAAAEsA/Zdvvj98D1zM/s1600/img001a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-1ki7LLnH5oM/Ur3ZxETWCkI/AAAAAAAAEsA/Zdvvj98D1zM/s1600/img001a.jpg" height="270" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saint Benedict blesses the bicycle, July 1982. Stift Göttweig in the background.</td></tr>
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In early July 1982, a shaggy, red-headed student of early German language/literature (i.e., "me"), was peddling his way from Sankt Pölten to Krems (by way of Herzogenburg), and then from Krems to Stift Melk, further up the Danube. He made sure to spend an extra day in Krems so he could bike back to visit Göttweig. Along the way, he even found the opportunity to have his <i>Drahtesel </i>("wire donkey") blessed by Saint Benedict himself!<br />
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So, my trip two weeks ago was retracing my path (in part) from 31 years prior!<br />
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This time, the weather was considerably less sunny, but the tour was fabulous nonetheless. I met Angelika Koelbl at the Institut's office in Krems about 2:00 pm, and we trundled off together to the Stift, about a 20 minute drive. She explained that she works part-time at both locations. At Göttweig she helps Pater Franz Schuster, OSB, in the Abbey archives.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-vn6iDafV6DY/Uqs2SJEY18I/AAAAAAAAEQ8/hmzghVx8N_U/s1600/IMG_8416.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-vn6iDafV6DY/Uqs2SJEY18I/AAAAAAAAEQ8/hmzghVx8N_U/s1600/IMG_8416.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note the jackets! The Archives are not heated, although their work room is. <br />
Angelika Koelbl and Pater<i> </i>Franz Schuster, OSB, in the Göttweig Abbey Archives.</td></tr>
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Angelika took me first to meet the curator of the graphic and manuscript collections, Pater Gregor Martin Lechner, OSB. HMML writes for permission before making any copies of microfilms for scholars, and for several years Pater Gregor has been our primary contact at the Abbey. I was warmly greeted and received a roughly four-hour-long tour of the library and archives! Pater Gregor led us to the room where the manuscripts are stored, next to the main room of the Abbey library.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-RXMG2tM0ZmA/Uqs2CGm_NwI/AAAAAAAAEQM/XO6a9dOXei8/s1600/IMG_8409.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-RXMG2tM0ZmA/Uqs2CGm_NwI/AAAAAAAAEQM/XO6a9dOXei8/s1600/IMG_8409.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It is probable that Father Oliver Kapsner worked in this room during the microfilming project in 1966.</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Cdpg1VQ0sCs/Uqs1_mg0FjI/AAAAAAAAEQE/J5dtTZ3LYpQ/s1600/IMG_8408.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-Cdpg1VQ0sCs/Uqs1_mg0FjI/AAAAAAAAEQE/J5dtTZ3LYpQ/s1600/IMG_8408.JPG" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Although the room has modern heating, the wood-burning ovens of <br />
yesteryear are still in evidence everywhere.</td></tr>
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He was so kind as to pull out one of the gems of the collection, a ninth-century psalter that is the oldest manuscript in the collection. At one time, this manuscript was described as being much later in origin, but his estimate of late ninth-century was verified by other paleographers. HMML has several photos of this manuscript in <a href="http://cdm.csbsju.edu/cdm/search/collection/PersonalCol!ArcaArt!HMMLCollect!HMMLClrMicr!SJRareBooks/searchterm/gottwicensis%2030/field/all/mode/all/conn/and/order/title/page/1" target="_blank">Vivarium</a>, although they are not as interesting as the original manuscript, of course!<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-L1WLS-_R-sg/Uqs1zFJyg1I/AAAAAAAAEPk/TbixQLWL2DI/s1600/IMG_8404.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-L1WLS-_R-sg/Uqs1zFJyg1I/AAAAAAAAEPk/TbixQLWL2DI/s1600/IMG_8404.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pater Gregor with <span class="tblBody">Codex Gottwicensis 30 (2), a psalter dated about 870 A.D.</span></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-d-Vn4v2ujSs/Uqs2E5JvTYI/AAAAAAAAEQY/-jzZAjN3ds4/s1600/IMG_8410.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-d-Vn4v2ujSs/Uqs2E5JvTYI/AAAAAAAAEQY/-jzZAjN3ds4/s1600/IMG_8410.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML-produced microfilms in the reference library at Stift Göttweig.</td></tr>
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When HMML worked in Austria (and elsewhere), it always provided a copy of its microfilms to the libraries that owned the manuscripts. The microfilms at Göttweig are stored in a special cabinet in the reference library, which is separate from the Baroque library. Pater Gregor was kind enough to show me the older space, but since it was a late afternoon in December and the main library has no electricity for light, I was not able to take any photographs. The library itself lies within the monastic cloistered space, so it is not generally accessible to the public. I feel extremely fortunate to have had the opportunity to see Baroque library as well as other storage and work areas. <br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ZUOO3omGUik/Uqs2JtBCnuI/AAAAAAAAEQk/qroOx16VRA4/s1600/IMG_8412.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ZUOO3omGUik/Uqs2JtBCnuI/AAAAAAAAEQk/qroOx16VRA4/s1600/IMG_8412.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Microfilm reader provided as part of the HMML project in the 1960's.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-64rRXUPbYMk/Uqs2L4Zvk5I/AAAAAAAAEQs/WXjNaAzMBJA/s1600/IMG_8414.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-64rRXUPbYMk/Uqs2L4Zvk5I/AAAAAAAAEQs/WXjNaAzMBJA/s1600/IMG_8414.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The four-digit number in bluish-green ink is the HMML project number, added to the handwritten catalog of the Göttweig collection. Further evidence of the importance of HMML's collaboration with Austrian libraries.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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After touring the manuscripts and incunabula, Pater Gregor led us back to the offices of the <a href="http://www.stiftgoettweig.at/site/kunstkultur/sammlungen/graphik" target="_blank"><i>Graphische Sammlung</i></a> (Graphical arts collection), which is the second largest in Austria (the Albertina in Vienna is the largest). The spaces for the <i>Graphische Sammlung</i> are in one of the oldest parts of the monastery, dating back to the Middle Ages, but the insides have recently been thoroughly renovated to proved a very modern space for working with (and storing) the graphic materials. Much (although not all) of the graphic arts collection has been digitized for internet access. Even the medieval codex manuscripts are expected to be digitized very soon.<br />
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<tr><td class="tr-caption" style="text-align: center;">Note the wonderful wooden cabinets for storing the archival materials. <br />
The holes allow air to circulate, without allowing rodents in.</td></tr>
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The Abbey archives are stored in a separate part of the complex, and are quite extensive. Prior to 1848, the Abbey held many properties in the surrounding area, so its records provide insight into the economic and daily life of much of Lower Austria and the Wachau. </div>
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<tr><td class="tr-caption" style="text-align: center;">More archival materials at Stift Göttweig.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">An extremely large book of records from the early modern period. The entries refer back to transactions recorded in other volumes.</td></tr>
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In the four hours that I spent at Stift Göttweig, I was made to feel a very welcome guest. During that time I did not see any of the usual tourist sites, but I was blessed to visit some of the back areas that speak of the 900+ years of monastic presence on this mountain top by the Danube. Perhaps I will someday return to see the other parts of the Abbey, but I know that I received a true Benedictine welcome during my visit. Father Oliver's glowing description was right--Stift Göttweig is well worth the visit! ***<br />
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<span style="color: red;"><b>Blessings on the community at Stift Göttweig and its friends!</b></span></div>
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<i>In my next blog post I will visit the Abbey of Melk, where Father Oliver also worked in the 1960's.</i><br />
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<span style="font-size: x-small;">[*** Addendum: in 1966, HMML had just appointed a new director, Julian G. Plante, who would remain at the library for over 25 years. In a letter to Dr. Plante, Father Oliver recommends Stift Göttweig as a place where he can familiarize himself with manuscripts more deeply: "Such a possibility would be here at Göttweig, a famous Benedictine abbey, with an excellent manuscript collection, with variety and depth. It is agreeable to the authorities here that you come here. You can live right here and study the manuscripts to your heart's content." (letter dated April 26, 1966) So, Göttweig nurtured HMML's mission right at the start of its work!]</span></blockquote>
<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com2tag:blogger.com,1999:blog-2100310334282304061.post-75422025310651966672013-11-26T12:04:00.000-08:002013-11-26T12:04:11.481-08:00Ethiopian Prayer Scrolls (2): A Close-up of SJU Ms. Or. E 12<br />
In this post I bring you an example of one entire prayer/magic scroll from the Saint John's Special Collections. My selection is simply based upon the fact that I have titles for the different sections of the scroll, along with some earlier cataloger's provision of line numbers to help those who are able (and might wish) to read the original text.<br />
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I can never look upon (or hold) our library's magic scrolls without seeing in my mind Jacques Mercier's description of the ritual in which the scrolls are produced (<i>Ethiopian Magic Scrolls</i>, 1979, pp.15-16):<br />
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"At the end of the consultation, the dabtara may say to the sick woman, 'Your sterility comes from aynä tela (eye of shadow) and from mägana (spirits) who have closed up your womb. You must sacrifice a black sheep, wash yourself in its blood and chyme, and bring me its skin.'" ... "The animal is generally sacrificed on the sick person's land, in a place behind the house where a pit has been dug. The dabtara then has the sheep carried three times in a circle, moving to the right, around the sick person, and then he slits its throat. The blood is collected in a hollow gourd (the sick person must not taste it or the spirit will not leave), along with the chyme. ... Then he washes the person with the contents of the gourd while saying prayers. The evil spirits, attracted by the drink, are drawn off by the liquid as it drains into the pit." [<i>parts of it are eaten by the sick person or relatives</i>] "The scraps and bones will be buried in the pit so that animals will not be able to touch them. The skin will be used for one or more scrolls."</blockquote>
Mercier provides much more detail in his monograph on the significance and origin of the scrolls. Since I have no reason to doubt the veracity of the core of Mercier's description above, I must assume that the scrolls that I am handling were prepared in a similar manner, as part of a ritual and not in a workshop preparing manuscripts. I must admit to being a little squeamish at the image!<br />
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Ms. Or. E 12 </h2>
Description: Parchment; 222.5 x 11 cm; 13-18 characters to a line; 355 lines; 19th century; Copied for (Wayzaro) Walatta Giyorgis Gubelē.<br />
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Note that the rubrics (red text) in the photos indicate the start of a new prayer or legend.<br />
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<a href="http://4.bp.blogspot.com/-8UJi-c5cBeo/UnFCd9bXiQI/AAAAAAAAEBA/pqWVPtzzT4c/s1600/SJU-E12-01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-8UJi-c5cBeo/UnFCd9bXiQI/AAAAAAAAEBA/pqWVPtzzT4c/s1600/SJU-E12-01.jpg" height="400" width="265" /></a>Lines 1-71: The Legend of Suseneyos and Werzeleyā. A prayer against Werzeleyā, the evil spirit which kills suckling children.<br />
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Lines 72-113: Prayer against the evil spirit called šolalāy <br />
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Lines 114-138: Two prayers against evil spirits which cause eye disease and headache. <br />
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(Note the stitching to connect two strips of parchment.)<br />
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Lines 139-165: Prayer against evil spirits which cause 'āyna Telā and 'āyna warq<br />
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Lines 166-187: Prayer against pain caused by others [eda sab'] <br />
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<a href="http://3.bp.blogspot.com/-YQ-7nI0_inY/UnFCfnyoR0I/AAAAAAAAEBo/IPdxTGvI9BM/s1600/SJU-E12-05.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-YQ-7nI0_inY/UnFCfnyoR0I/AAAAAAAAEBo/IPdxTGvI9BM/s1600/SJU-E12-05.jpg" height="400" width="266" /></a></div>
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Lines 188-208: Prayer against evil spirits which cause 'āyna telā and 'āyna warq.<br />
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Lines 209-223: Prayer against all diseases.<br />
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Lines 223-233: Prayer against terror [dengāzē]. <br />
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Lines 234-243: Greeting to breath of the Trinity.<br />
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Lines 244-254: Prayer against dysentery/diarrhea and epidemic [taqmāt wa-tasebo].<br />
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Lines 254-308: Prayer for drowning and binding demons [Mastem wamā'esara aganent]. <br />
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(and another stitch to connect two strips of parchment)<br />
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<a href="http://1.bp.blogspot.com/-PwvOQF423BY/UnFCgeLxnpI/AAAAAAAAEBw/9C95OJn9aBI/s1600/SJU-E12-07.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-PwvOQF423BY/UnFCgeLxnpI/AAAAAAAAEBw/9C95OJn9aBI/s1600/SJU-E12-07.jpg" height="400" width="266" /></a></div>
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Lines 309-340: Prayer for the protection of the soul. The main body of the prayer is the asmāt of the Archangel Michael found in his dersān. <br />
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Lines 341-355: Prayer for self-protection.<br />
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<a href="http://4.bp.blogspot.com/-cBlWxrGmugg/UnFChHpiaYI/AAAAAAAAEB8/YZOHVJ684sU/s1600/SJU-E12-08.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-cBlWxrGmugg/UnFChHpiaYI/AAAAAAAAEB8/YZOHVJ684sU/s1600/SJU-E12-08.jpg" height="400" width="266" /></a></div>
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An angel (?) with a big head and two wings, but with no trunk.<br />
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<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-67965301648964067522013-11-10T15:02:00.002-08:002013-11-10T15:02:26.297-08:00Ethiopian Prayer Scrolls (1): Angels and Demons? (or just faces?)<div class="separator" style="clear: both; text-align: center;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-KBzNJuUjWvU/UnFCpjJmKxI/AAAAAAAAEEo/-KFcVyf3glc/s1600/Wenner-04b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-KBzNJuUjWvU/UnFCpjJmKxI/AAAAAAAAEEo/-KFcVyf3glc/s1600/Wenner-04b.jpg" height="320" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Wenner Ms. 2</td></tr>
</tbody></table>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; float: right; margin-bottom: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-hiZN6tTWxEA/UnFCr0201II/AAAAAAAAEFQ/Lzw1f_Cv188/s1600/Williams_01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-hiZN6tTWxEA/UnFCr0201II/AAAAAAAAEFQ/Lzw1f_Cv188/s1600/Williams_01a.jpg" height="400" width="201" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Williams Ms. 2</td></tr>
</tbody></table>
<h3>
Ethiopica at the Hill Museum <span style="color: red;">&</span> Manuscript Library </h3>
Perhaps it should come as no surprise that the Hill Museum <span style="color: red;">&</span> Manuscript Library (HMML) is home to one of the largest Ethiopian manuscript collections in the Midwestern United States. However, the means by which this collection has grown is rather different from most. HMML started working with the Ethiopian Manuscript Microfilm Library (EMML) in Ethiopia in 1973. Through many difficult years of conflict and famine in East Africa, HMML attempted to keep the microfilming of Ethiopian manuscripts on track, and in recent years it has returned to digitize (or to collaborate in digitizing) even more manuscripts.<br />
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At this time HMML has about 8000 manuscripts on microfilm, and many more digitally photographed. Of course, this has led to a need for cataloging, which has been ably provided over the past 40 years by William Macomber and Getatchew Haile. As a result of their professional work, HMML came to be known as an important center for Ethiopian manuscript studies.<br />
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<a href="http://4.bp.blogspot.com/-Tm-iqHihKaE/T56uah1UPzI/AAAAAAAABKs/SgoKcUaZMbA/s1600/IMG_0978.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Tm-iqHihKaE/T56uah1UPzI/AAAAAAAABKs/SgoKcUaZMbA/s1600/IMG_0978.JPG" height="320" width="212" /></a><br />
Today, in addition to the microfilms and digital copies, HMML has about 50 Ethiopian manuscripts in its own collections. Most, if not all, of these manuscripts came to HMML as gifts, starting in the 1970's. I hope over time to provide a brief general introduction to several of these manuscripts (since I do not read Ge'ez or Amharic, I can only provide very general comments!). Of these manuscripts, the majority are what we traditionally think of as books--codices, albeit ones with handwritten parchment leaves, not printed pages on paper. About 20 of these manuscripts are actually rolls, often called magic scrolls or prayer scrolls. They are prepared in a special healing ritual by a <i>dabtara </i>(or <i>debtera</i>), an "itinerant religious figure among ... the Ethiopian and Eritrean Orthodox Tewahedo Churches." (<i>Wikipedia</i>) I hope in a future blog post to provide a little context to this ritual.<br />
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<i>For two earlier posts on Ethiopian topics, go to: </i><br />
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<a href="http://booksfromthehmmlbasement.blogspot.com/2012/03/global-ethiopia-and-rare-books.html">http://booksfromthehmmlbasement.blogspot.com/2012/03/global-ethiopia-and-rare-books.html</a><br />
and <br />
<a href="http://booksfromthehmmlbasement.blogspot.com/2012/01/aside-my-apologies-for-photographs-in.html">http://booksfromthehmmlbasement.blogspot.com/2012/01/aside-my-apologies-for-photographs-in.html</a><br />
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Angels looking out at us</h3>
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The <i>Encyclopaedia Aethiopica</i> (Wiesbaden, 2003- ) describes these scrolls as "Christian written amulets ... made up of crude parchment or leather (up to three strips usually sewn together with thongs of the same material) ..." whose "protective effect is realized by the mere possession of them, not by reading." Due to their constant use, scrolls generally do not get to be very old, and often date only to the 19th or 20th centuries. <br />
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Unrolling one of these bundles exposes a whole new world, radically different from that around us in North America. Along with their unusual format, the scrolls are especially noteworthy for their decoration, which usually includes a picture of a protective angel--usually Michael or Gabriel--or demons, or faces within frames, or events from Ethiopian legend. Here is a small gallery of angels from the HMML collections. Note that some of the manuscripts below have been donated to HMML within the past year, and are essentially still uncataloged.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-7YguPhhbiCA/UnFCdZEmTkI/AAAAAAAAEA4/5H5gO9taIr8/s1600/Olson_2-04a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-7YguPhhbiCA/UnFCdZEmTkI/AAAAAAAAEA4/5H5gO9taIr8/s1600/Olson_2-04a.jpg" height="400" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Olson Ms. 2</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-eRqortg95Lw/UnFCUzFm1nI/AAAAAAAAD-k/l_wQgZMSZoE/s1600/Henze_2-02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-eRqortg95Lw/UnFCUzFm1nI/AAAAAAAAD-k/l_wQgZMSZoE/s1600/Henze_2-02.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Henze Scroll no. 2</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6Q8pvlmHYis/UnFCTwHToQI/AAAAAAAAD-Q/aIyCv2wDXYA/s1600/Henze_1-01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6Q8pvlmHYis/UnFCTwHToQI/AAAAAAAAD-Q/aIyCv2wDXYA/s1600/Henze_1-01a.jpg" height="400" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Henze Scroll no. 1</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6oy0HE-JD-U/UnFCaPY2TfI/AAAAAAAAEAA/sorpQUbQ0lQ/s1600/Olson_1-04a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6oy0HE-JD-U/UnFCaPY2TfI/AAAAAAAAEAA/sorpQUbQ0lQ/s1600/Olson_1-04a.jpg" height="400" width="367" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Olson Ms. 3</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HdhQ3ioKsbw/UnFCa5sQmCI/AAAAAAAAEAQ/oYwHUHZAjJo/s1600/Olson_1-07a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-HdhQ3ioKsbw/UnFCa5sQmCI/AAAAAAAAEAQ/oYwHUHZAjJo/s1600/Olson_1-07a.jpg" height="387" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Olson Ms. 3: two angels pulling back a curtain to unveil a Cross.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Q2ip7mGKoD8/UnFCZWu7VwI/AAAAAAAAD_w/JO62a6Z2vpw/s1600/Olson_1-01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-Q2ip7mGKoD8/UnFCZWu7VwI/AAAAAAAAD_w/JO62a6Z2vpw/s1600/Olson_1-01a.jpg" height="400" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML Olson Ms. 3</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-eZV55joQEW4/UnFCXd1iUkI/AAAAAAAAEF4/z0vQhIUHrto/s1600/O%2527Donnell_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-eZV55joQEW4/UnFCXd1iUkI/AAAAAAAAEF4/z0vQhIUHrto/s1600/O%2527Donnell_01.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HMML O'Donnell Ms. 1</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-TMFUDh7idZ0/UnFCkh24GQI/AAAAAAAAEDA/ih9MTpQMOlk/s1600/SJU-E4-01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-TMFUDh7idZ0/UnFCkh24GQI/AAAAAAAAEDA/ih9MTpQMOlk/s1600/SJU-E4-01a.jpg" height="400" width="293" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SJU Ms. Or. E 4 (Saint John's Special Collections): 19/20th century</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-CrzZTQfD4bY/UnFCnGRfINI/AAAAAAAAEDw/t6V8eET-yaM/s1600/SJU-E9-01a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-CrzZTQfD4bY/UnFCnGRfINI/AAAAAAAAEDw/t6V8eET-yaM/s1600/SJU-E9-01a.jpg" height="400" width="307" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SJU Ms. Or. E 9 (Saint John's Special Collections): 19th century</td></tr>
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<tr><td style="text-align: center;"></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-KNAzivNRysU/UnFCmGH50uI/AAAAAAAAEDg/gMzEyEXqjCU/s1600/SJU-E8-04a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-KNAzivNRysU/UnFCmGH50uI/AAAAAAAAEDg/gMzEyEXqjCU/s1600/SJU-E8-04a.jpg" height="400" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SJU Ms. Or. E 8 (Saint John's Special Collections): a somewhat "early" angel, from the late 18th century.</td></tr>
</tbody></table>
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<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-42409075738224747622013-11-06T09:02:00.005-08:002013-11-06T09:02:57.602-08:00Cutting Your Prophets in Half: The Passion of Jesus and its Violent Parallels in Late Medieval Manuscript IllustrationOther than my tortured English in the flyer below, I hope that my presentation will be cogent! (or is that "coherent?").<br />
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<a href="http://1.bp.blogspot.com/-7-MmWVdCIcw/Unp1Z-dnjiI/AAAAAAAAEIA/nCzmAdCYurE/s1600/Cutting+Your+Prophets+in+Half.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-7-MmWVdCIcw/Unp1Z-dnjiI/AAAAAAAAEIA/nCzmAdCYurE/s1600/Cutting+Your+Prophets+in+Half.jpg" height="640" width="492" /></a></div>
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I'll be speaking mostly on the <i>Speculum Humanae Salvationis</i>, but with reference to other traditions based on picture cycles--the <i>Bible Moralisee</i>, the <i>Biblia Pauperum</i>, and the <i>Concordantia Caritatis</i>.<br />
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I hope others might find this of interest!<br />
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Peace!<br />
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<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-81963923538847227992013-10-29T12:42:00.000-07:002013-10-29T12:56:37.893-07:00The Rising Dead (in time for Halloween)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-1sQx1GxuASs/Um6tlNvaRWI/AAAAAAAAD7s/WY1TpgFbfoc/s1600/Bethune-IMG_075r1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="144" src="https://4.bp.blogspot.com/-1sQx1GxuASs/Um6tlNvaRWI/AAAAAAAAD7s/WY1TpgFbfoc/s1600/Bethune-IMG_075r1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the Bethune Book of Hours (15th century).</td></tr>
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It's that time of year again, when ghouls and ghosts, vampires and zombies, and many other kinds of all-around evil-doers flood our streets in search of a sweet treat or two. While I can understand the desire to gather up candy, the national focus on embodying the gruesome and gory in our youngest and most innocent comes as a bit of a surprise to this graying dad. So I looked back at some of our Library's oldest books--mostly from the fifteenth century--to find images of the walking dead in a somewhat more positive light.<br />
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<i>And yes, there <b>is </b>something positive about the walking (or this case, "rising") dead.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-SFkBFOyAGtw/Um6ylSfuFZI/AAAAAAAAD8I/H5l2sIrvDIc/s1600/Bethune-IMG_075r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-SFkBFOyAGtw/Um6ylSfuFZI/AAAAAAAAD8I/H5l2sIrvDIc/s1600/Bethune-IMG_075r.jpg" height="400" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bethune Book of Hours. Note how Jesus' face has been rubbed off--perhaps by an overly zealous owner? <br />
The large initial "D" opens Psalm 6 (see below for text).</td></tr>
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In our collections, most images of the dead rising are to be found in <b>Books of Hours</b>, prayer books for lay people that were most popular from the late 14th to early 16th centuries. The prayers are set out for different points in the day, and these are demarcated by miniatures depicting (most commonly) the Annunciation, the Visitation, the Nativity of Jesus, and other scenes from the lives of Mary and Jesus. There may also be pictures of the evangelists or King David, as well as a funeral scene (for the Office of the Dead).<br />
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In some Books of Hours there are also depictions of the Last Judgment, with Jesus enthroned in the sky, surrounded by angels. The primary moment in the year to remember this is at the feast of Christ the King, which comes at the end of November (or occasionally in very early December) and marks the end of one liturgical year, so that the next year may start with Advent.<br />
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<b>Halloween</b>, the eve of the feast of <b>All Saints</b>, comes just a few weeks before this celebration of the "end of time." As the name indicates, the feast of All Saints is time set aside to remember all those who have been designated as especially good examples of being a follower of Jesus.<br />
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When it became clear that there are more good people who have died beyond the official saints, the Catholic church decided to make the following day, November 2, the feast of <b>All Souls</b>--meaning we should remember and pray for <b>everyone </b>who has died.<br />
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<i>Thus, Halloween and the two days following it are intended to be a very <b>positive</b> time in the calendar--not a time of people in hockey masks carrying chainsaws, but a time that we remember those who have gone before us, shaped us, and left us with both the hopes and the despairs of today.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-UNjnqdMoT6Q/Um6ym594VyI/AAAAAAAAD8Q/bwjL3EV_oEw/s1600/Gavin2-IMG_095v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-UNjnqdMoT6Q/Um6ym594VyI/AAAAAAAAD8Q/bwjL3EV_oEw/s1600/Gavin2-IMG_095v.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gavin Ms. 2, a Book of Hours.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/--Xq0RMj9-TM/UnAD-v9kbmI/AAAAAAAAD9A/cUJkud9bOUA/s1600/Gavin2-IMG_095v1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/--Xq0RMj9-TM/UnAD-v9kbmI/AAAAAAAAD9A/cUJkud9bOUA/s1600/Gavin2-IMG_095v1.jpg" height="297" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gavin Ms. 2, detail.</td></tr>
</tbody></table>
When one looks at the dead rising in these pictures, one does not find the gruesome images of anger, but rather hopeful expressions (for the most part), and sometimes even the assistance of angels! These miniatures do not portray a terrible end, but a hopeful one. Sometimes, to add to this sense of hope, there appear the Virgin Mary and the evangelist John to help intercede for the sinful risers.<br />
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These are not the images of Hellmouth (which are also pretty common), which show the damned being dragged off by devils. There the ending has already been determined and the sight is (in a word) not pretty--that is perhaps worthy of another blog post on another occasion! <br />
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However, I will grant you, the Psalm chosen to accompany the miniature (Psalm 6 (7)) does echo the sound of fear in the voice of the speaker, but ultimately the hope is that God will listen and "rescue my soul."<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-sCTScdOrn7I/Um6yn6ANCAI/AAAAAAAAD8Y/9sgQIWxfta0/s1600/Gavin2-IMG_096r.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-sCTScdOrn7I/Um6yn6ANCAI/AAAAAAAAD8Y/9sgQIWxfta0/s1600/Gavin2-IMG_096r.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gavin Ms. 2.</td></tr>
</tbody></table>
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The Latin text facing the miniature is from Psalm 6:2-6<br />
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"O Lord, rebuke me not in thy anger, nor upbraid me in thy wrath. Have mercy on me O Lord, for I am weak; heal me, O Lord, for my bones are troubled, and my soul is troubled exceedingly; but thou, O Lord, how long ...?<br />
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Return, O Lord, rescue my soul, save me for thy mercy's sake, because there is none in death who remembers thee: who is there that praises thee in the abode of the dead?" (from the Douay translation)<br />
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Sometimes the rising is not shown at the Last Judgment, but at the climax of the Passion, with the rending of the temple curtain:<br />
<blockquote class="tr_bq">
"And behold, the curtain of the temple was torn in two from top to bottom; and the earth quaked, and the rocks were rent, and the tombs were opened, and many bodies of the saints who had fallen asleep arose; and coming forth out of the tombs after his resurrection, they came into the holy city, and appeared to many." (Matthew 27:51-53)</blockquote>
For an example of this, see: <a href="http://www.pinterest.com/pin/292874781988848223/">http://www.pinterest.com/pin/292874781988848223/</a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-MeRTlMs6Rd0/UJFR4Knvt5I/AAAAAAAABuw/MlZsvc4cIVU/s1600/aap1203ra.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-MeRTlMs6Rd0/UJFR4Knvt5I/AAAAAAAABuw/MlZsvc4cIVU/s1600/aap1203ra.jpg" height="197" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prayers being offered on All Souls' Day from a book printed in the 15th century. <br />
The dead are rising in the background.</td></tr>
</tbody></table>
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<h3>
<b>The <i>Day of the Dead</i> -- A Fabulous Alternative </b></h3>
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A very different view of what to remember in late October and early November comes in a children's song for the <i>Dia de los Muertos</i> (Day of the Dead) by singer/composer Tish Hinojosa:<br />
<blockquote class="tr_bq">
"The moon is full of something on the rise<br />
The other world is opening its eyes<br />
Out in the graveyard<br />
We will sing a stance<br />
Even the dead are rising up to dance </blockquote>
<blockquote>
Love songs and flowers and papers, bright colors<br />
Smells of the food that we bring<br />
There we remember the saints and the sinners<br />
This night with them we will sing."</blockquote>
<blockquote class="tr_bq">
From <i> Hasta Los Muertos Salen a Bailar / Even the Dead Rise Up to Dance</i> by <a href="http://www.mundotish.com/">Tish Hinojosa</a>, from her wonderful children's album <i>Cada Niño/Every Child</i>. Most of the song is in Spanish--only part of the English is given here. The lyrics are available on the singer's website.</blockquote>
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Wow! What a powerfully positive message--we are called to remember our grandparents, our aunts and uncles, and all of the people who have formed us. In fact, the cemetery is not a place of fear, but a place to have a picnic where we can have our loved ones with us! In this way, Halloween is not a time of "fright" and gore, but a time of hope and promise.<br />
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It is this need to remember that comes through for me during the three days from October 31 to November 2 every year.<br />
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Fortunately, our child is going out as a <b>Cheerios</b> box this year. </div>
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No ghouls or zombies, thank you.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-rWSNntFH2bo/UnAEBM7gbaI/AAAAAAAAD9I/79_RZLMAEfw/s1600/Kacmarcik-IMG_114v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-rWSNntFH2bo/UnAEBM7gbaI/AAAAAAAAD9I/79_RZLMAEfw/s1600/Kacmarcik-IMG_114v.jpg" height="281" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kacmarcik Book of Hours</td></tr>
</tbody></table>
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Several more scenes of the dead rising from their tombs can be found at:<br />
<a href="http://www.pinterest.com/matthewheintzel/halloween-revisited-the-dead-shall-rise-again-in-m/">http://www.pinterest.com/matthewheintzel/halloween-revisited-the-dead-shall-rise-again-in-m/</a><br />
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<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F4.bp.blogspot.com%2F-1sQx1GxuASs%2FUm6tlNvaRWI%2FAAAAAAAAD7s%2FWY1TpgFbfoc%2Fs1600%2FBethune-IMG_075r1.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://4.bp.blogspot.com/-1sQx1GxuASs/Um6tlNvaRWI/AAAAAAAAD7s/WY1TpgFbfoc/s1600/Bethune-IMG_075r1.jpg" -->Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1tag:blogger.com,1999:blog-2100310334282304061.post-91137217971711981922013-10-17T11:20:00.001-07:002013-10-18T07:05:21.164-07:00God's books in extraordinary variety ...Many years ago I lived in a neighborhood on the south side of Chicago, where the local Catholic Church (St. Thomas the Apostle) embraced diversity through its motto: "God's people in extraordinary variety." I have always loved that phrase, so I am borrowing/adapting it today to introduce a recent presentation I made at the annual meeting of the Medieval Association of the Midwest ("MAM"). MAM met (and was warmly received) at Indiana State University, in Terre Haute, Indiana. The conference gave me an opportunity to describe some of the actual manuscripts that are held at the Hill Museum & Manuscript Library. Since HMML is largely know for its digital and microfilm collections, this was a chance to share our own materials with others--albeit through digital means!<br />
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Reproduced below are the slightly edited slides from my presentation. It is quite possible that I have unintentionally inverted some of the non-European language manuscript images, so I ask that any one with knowledge of these languages to contact me with corrections!! Feel free to click on a slide to see it enlarged.<br />
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Peace,<br />
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Matt Heintzelman<br />
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<br />Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com4tag:blogger.com,1999:blog-2100310334282304061.post-75214881958370263602013-10-02T09:17:00.003-07:002013-10-02T09:21:16.446-07:00Ground-Breaking and "Ground-Re-Breaking"<!--[if gte mso 9]><xml>
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<tr><td class="tr-caption" style="text-align: center;">HMML on October 2, 2013</td></tr>
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<br />
The Hill Museum & Manuscript Library ("HMML") is physically housed in the Bush Center which is undergoing a little reconstructive surgery over the next week or so, as we repair a few leaky spots in the concrete. However, we are open for business as usual!<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-KRhDu9jp3sg/UkxCF_wmA4I/AAAAAAAAD3Y/0F5ONu-UPLU/s1600/IMG_4624.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-KRhDu9jp3sg/UkxCF_wmA4I/AAAAAAAAD3Y/0F5ONu-UPLU/s1600/IMG_4624.JPG" height="320" width="240" /></a><a href="http://1.bp.blogspot.com/-85cP5l9SMk4/UkxCIjyBdyI/AAAAAAAAD4A/RKVX3hqPabY/s1600/IMG_4630.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-85cP5l9SMk4/UkxCIjyBdyI/AAAAAAAAD4A/RKVX3hqPabY/s1600/IMG_4630.JPG" height="320" width="240" /></a></div>
<br />
<br />
<br />
This event, however, brought back images of an earlier groundbreaking, in 1975, when the Library first became an separate location of its own. Below is an account of the first groundbreaking, on April 8, 1975, as reported in the <i>ANNALS OF MMML</i> (vol. V, no. 3). The MMML (or Monastic Manuscript Microfilm Library) was re-dubbed the "Hill Monastic Manuscript Library" in 1976 and then the "Hill Museum & Manuscript Library" in 2004.<br />
<br />
<br />
<br />
<div style="text-align: center;">
<i><b>Happy reading!</b></i></div>
<br />
<br />
<blockquote class="tr_bq">
April 8, 1975 (All quotes below are from the <i>ANNALS of MMML</i>): <br />
<br />
"The GROUNDBREAKING ceremony for the new MMML building takes place today. Guests of honor at the luncheon which preceded the ceremony include the R. Reverend JOHN EIDENSCHINK, O.S.B., Abbot of St. John’s Abbey and Chancellor of St. John’s University, the Very Reverend MICHAEL BLECKER, O.S.B., President of St. John’s University, the Reverend OLIVER KAPSNER, O.S.B., Director Emeritus of MMML’s Field Operations, Dr. A. A. HECKMAN, Past President of the Hill Family Foundation, now known as the Northwest Area Foundation, and Mr. JOHN TAYLOR, Executive Director of the Northwest Area Foundation. The honored guests and the professional, secretarial and clerical staff members are welcomed by Dr. JULIAN G. PLANTE, Director of the Monastic Manuscript Microfilm Library. "</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-94vqF0rZ2fE/UkxAd_mMs2I/AAAAAAAAD1c/_kbfNpdXOCM/s1600/21+MMML+Groundbreaking.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-94vqF0rZ2fE/UkxAd_mMs2I/AAAAAAAAD1c/_kbfNpdXOCM/s1600/21+MMML+Groundbreaking.jpg" height="231" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fr. Michael Blecker, OSB, and Dr. Julian Plante dig the first soil on the place that will become HMML.</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-PKkE5TZiWfY/UkxAehg6lQI/AAAAAAAAD1w/zPirq9TR0RY/s1600/23+MMML+Groundbreaking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-PKkE5TZiWfY/UkxAehg6lQI/AAAAAAAAD1w/zPirq9TR0RY/s1600/23+MMML+Groundbreaking.jpg" height="252" width="320" /></a></div>
<br />
<blockquote class="tr_bq">
"In brief remarks after the luncheon, Dr. Plante and Abbot John recall the assistance of many persons in the early days of the project which made possible the success of MMML and pays tribute in particular to Father Oliver’s perseverance in the face of initial difficulties and to Abbot Baldwin Dworschak’s valuable assistance in securing the good will and cooperation of many Austrian abbeys. Father Michael speaks in recognition of the accomplishments of MMML and thanks Dr. Julian Plante for his efforts and leadership which have created a world-renowned research center at St. John’s University. Father Oliver recalls that the groundbreaking ceremony is taking place one day before the tenth anniversary of MMML’s beginning its microfilming project in Austria. "</blockquote>
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<a href="http://3.bp.blogspot.com/-wslMrLO89B8/UkxAfOUS10I/AAAAAAAAD14/Jil5DSDIAsI/s1600/24+MMML+Groundbreaking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-wslMrLO89B8/UkxAfOUS10I/AAAAAAAAD14/Jil5DSDIAsI/s1600/24+MMML+Groundbreaking.jpg" height="236" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-tj_OJme5rMs/UkxAfsoGJsI/AAAAAAAAD2I/QSdvqTWpMl4/s1600/26+A.+A.+Heckman+at+Groundbreaking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-tj_OJme5rMs/UkxAfsoGJsI/AAAAAAAAD2I/QSdvqTWpMl4/s1600/26+A.+A.+Heckman+at+Groundbreaking.jpg" height="223" width="320" /></a></div>
<br />
<blockquote class="tr_bq">
"After the luncheon, the guests go to the site of the new building, which had earlier been cleared of its cover of snow by a university bulldozer. At the site, the Reverend ROLAND BEHRENDT, O.S.B., reads as a lesson the passage in praise of monastic scribes taken from An Introduction to Divine and Human Readings by Cassiodorus Senator. Abbot John reads the following prayer composed for this occasion: </blockquote>
<blockquote>
<blockquote>
God, our Father, <br />
<br />
you have blessed men and women <br />
with the desire to discover, to create, to think, speak and write </blockquote>
</blockquote>
<blockquote>
<blockquote>
and to hand on their precious heritage through word and symbol <br />
from one generation to the next. <br />
<br />
We thank you for this gift. <br />
<br />
Today, as we begin to build a place of shelter and study <br />
for a fragile part of our inheritance, <br />
we ask you to look with kindness on our benefactors, <br />
and on those who have planned and designed the building that will stand here. <br />
<br />
Protect those who will labor in its construction; <br />
enrich those who will work and study within its walls <br />
so that in all things you may be glorified. <br />
<br />
We ask this through Christ, our Lord. AMEN. "</blockquote>
</blockquote>
<blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-QYXpWpLZDp0/UkxAd8ltSyI/AAAAAAAAD2c/2xQ237WAKAA/s1600/19+MMML+Groundbreaking+Plante+and+Taylor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-QYXpWpLZDp0/UkxAd8ltSyI/AAAAAAAAD2c/2xQ237WAKAA/s1600/19+MMML+Groundbreaking+Plante+and+Taylor.jpg" height="227" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Julian Plante joking with John Taylor from the Northwest Area Foundation.</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-oODQr4ZZk4M/UkxAfpDVgGI/AAAAAAAAD2U/eBgFNpX3mpQ/s1600/25+MMML+Groundbreaking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-oODQr4ZZk4M/UkxAfpDVgGI/AAAAAAAAD2U/eBgFNpX3mpQ/s1600/25+MMML+Groundbreaking.jpg" height="320" width="221" /></a></div>
<br /></blockquote>
<br />
<blockquote>
"Father Michael and Dr. Plante turn the first clods of earth and pass the shovels to Dr. Heckman, Father Oliver, Mr. Taylor and to Father JAMES TINGERTHAL, O.S.B., and Mr. ORLAND JELLUM, of the Physical Plant department of the University."</blockquote>
<br />
The sentiments of the prayer above are well worth remembering as we approach HMML's fiftieth anniversary of its preservation work:<br />
<br />
<div style="text-align: center;">
"Protect those who will labor in its construction; <br />
enrich those who will work and study within its walls <br />
so that in all things you may be glorified." </div>
<br />
<div style="text-align: center;">
Amen to that.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Peace. </div>
Matthew Heintzelmanhttp://www.blogger.com/profile/05395463756470194962noreply@blogger.com1