A major collection of Italian opera libretti is now accessible through an online database. The collection of 3,421 items was donated in 1969 by New York rare book dealer Hans P. Kraus. The collection consists primarily of texts of Italian operas but also includes Italian cantatas, serenatas, oratorios, dialogues and Passions. The collection, which dates from the 17th through the 20th century, documents musical performances by Italian, French, German and Austrian composers performed in numerous Italian cities and elsewhere. Learn more about the collection.
Micah Erwin is a student in the School of Information at The University of Texas at Austin specializing in rare books and special collections librarianship. He earned a masters degree in medieval studies, and his research interests include the preservation and cataloging of medieval manuscripts and early printed books. He shares some discoveries he made about a medieval manuscript in the Ransom Center’s collections. HRC 44 is the unique number assigned to this particular manuscript in the Center’s Medieval and Early Modern Manuscripts Collection. Early manuscripts in the Ransom Center’s collections are often identified by a unique number called a shelfmark that is assigned during the cataloging process.
There were many manuscripts produced in the Middle Ages whose scribes remained anonymous. For this reason, it is interesting when one stumbles upon a manuscript text that can be attributed to a particular scribe. The best form of evidence for the origin of a manuscript and its creator is a scribal colophon—that is, an inscription that a scribe writes at the completion of a manuscript in which he or she provides information about when, where, and by whom it was created. An early sixteenth-century northern European manuscript in the Harry Ransom Center presents just such a case. Although in this case, the identification of the scribe based upon the colophon happens to be a particularly tricky task.
HRC 44 contains a single, complete text in Latin: Tractatus de Preparatione ad missam Johannis Bonaventure. The well-known author of the original work of this text is St. Bonaventure, a doctor of the Catholic Church (1221-1274). St. Bonaventure is known for his great philosophical and mystical writings. Tractatus de Preparatione ad missam is a short treatise on how properly to prepare oneself for the reception of the Eucharist at Mass—a relevant topic at the time that HRC 44 was produced, as the Reformation was just beginning to take hold in Europe.
A number of factors allow us to conclude that this manuscript was produced no later than the year 1520: a watermark is located in the center of the gutter of every other leaf that can be identified with paper produced in Paris between 1468 and 1515; the text is written in a hybrida or semihybrida script, which was developed and popularized in the fifteenth and sixteenth centuries; and the scribal colophon itself contains a date. The unusual part about the manuscript is that it contains not one, but two colophons.
The first colophon is written in a Late German cursiva hand, and there is a strange zoomorphic doodle around it . Curiously the text has been literally scribbled over. No date is legible:
Here is a translation of the first colophon:
“Here ends the tract on the preparation for the mass by the seraphic master Johann Bonaventure[…………..]”
The second colophon appears to be much like the first, except for one very important difference: the addition of a name and a date. It is written in a secretary hand—an even later script than the first colophon. The translation is as follows:
“Here ends the Tract on the Preparation for Mass by the seraphic master Johann Bonaventure written by me, brother Johann Laenstein a Carmelite of Boppard, [in the] year 1520.”
The work of Franze-Bernand Lickteig, an extensive study of German Carmelites in medieval universities, records a certain “Joannes Laynstein de Boppardia” as a monk who studied at Cologne between 1520 and 1522. It is possible that he copied the colophon from the exemplar manuscript, realized his error, and perhaps later wrote a new colophon with his name and the date of its completion.
Based on the above evidence, HRC 44 was therefore produced by a Carmelite monk named Johannes Laenstein from Boppard, Germany, in 1520. It was either copied in Paris (where the paper was made), Cologne (where Laenstein studied), or at the priory of Boppard itself. If we are not convinced of the date 1520, then we can use the watermark evidence to suggest that it was produced no earlier than 1468.
I believe that HRC 44 represents a fascinating example of manuscript book production post-1450. Scholars interested in the production of manuscript books after the invention of the printing press will likely benefit from an examination of HRC 44 and should conduct further research to identify other works produced by its scribe. Additionally, the presence of three different types of script (the text and two colophons on folio 11v) on the same page make this an excellent manuscript for students of paleography.
We recently received a reference question regarding our copy of The Farewell Address of Gen. George Washington (Keene, N.H.: Printed by John Prentiss, 1812). The question had nothing to do with the work but with the possibility that our copy might be bound in boards covered with sheets from a supposedly suppressed edition of John Cleland’s 1748 novel Memoirs of a Woman of Pleasure (commonly known as Fanny Hill). And in fact, our copy is bound thus. (It is not uncommon to find “printed waste” in early bookbindings. Paper, being an expensive commodity, was reused whenever possible in the production of books.)
The text of the sheet used in our binding is not too racy. We have, for example, “After a sufficient length of dialogue, my bedfellow left me to my rest, and I fell asleep, through pure weariness from the violent emotions I had been led into… .” What preceded this passage, however, is best not discussed here.
So, here we have the farewell address of the first president of the United States coupled with the first modern erotic novel. It’s an interesting pairing.
The Ransom Center’s spring calendar is now available on the Ransom Center’s website.
Highlights include programs with visiting writers John Banville, Iain Sinclair, Peter Carey, and Kenneth Brown.
The calendar also features programming related to the spring exhibition Making Movies, including a Music from the Collections program about film music, talks by film scholars, and a summer film series showcasing films highlighted in the exhibition.
Learn more about these programs (and download a PDF of the calendar) on the Ransom Center’s public programs page. Information about live webcasts of many programs will be noted closer to the date of the events.
Cultural Compass will be on hiatus during the University’s winter break and will return with new content on Tuesday, January 5. Here are the holiday hours for the Ransom Center:
Ransom Center Galleries
10 a.m.-5 p.m. Tuesday, Wednesday, and Friday
10 a.m.-7 p.m. Thursday
10 a.m.-5 p.m. Thursday, December 31
Noon-5 p.m. Saturday and Sunday
Library Reading/Viewing Rooms
Please note that the Library Reading/Viewing Rooms will be closed from Tuesday, December 22 through Sunday, January 3, 2010.
9 a.m.-5 p.m. Monday-Friday
9 a.m.-Noon Saturday
The Ransom Center Galleries are closed Mondays and the following holidays:
Christmas Eve Day (Thursday, December 24)
Christmas Day (Friday, December 25)
New Year’s Day (Friday, January 1)
Actress Jennifer Jones, who died today at the age of 90, has connections to the Ransom Center’s film holdings, particularly the David O. Selznick collection.
The Selznick collection, the largest collection at the Ransom Center, occupies almost five thousand document cases, and spans the career of the famed Hollywood producer. Selznick cast Jones in several films, including Duel in the Sun (1946) and Portrait of Jennie (1948). The two married in 1949.
In the spring of 2009, the Harry Ransom Center received a grant from the National Endowment for the Humanities to catalog the Morris L. Ernst papers. The collection will be closed to researchers until the project is completed in the fall of 2011. During that time, a team of one full-time project archivist and two part-time assistant archivists will arrange, describe, and preserve the Ernst papers. They will also produce a standard finding aid (or guide to the collection), which will be available online.
During the cataloging process, the archivists aim to achieve two goals: access and preservation. The Ernst papers, despite being uncataloged, have been used frequently since their acquisition. Several lists and indexes to the papers exist, but they are incomplete, unreliable, and difficult to navigate. This project will replace those various guides with a standardized, online finding aid, which will be searchable and generally much easier to access and use.
The other goal is to make the physical material last as long as possible, so that the information contained in the papers will remain a part of the cultural record. To this end, project staff will re-house the papers in acid-free boxes and folders. At-risk items—those that have been damaged by water, age, or other environmental factors—will be treated by the Center’s Conservation Department. The Ransom Center has a state-of-the-art lab where materials can be stabilized for long-term preservation.
When the cataloging project is complete, the Ernst papers will be housed with the Center’s other collections in secure temperature- and humidity-controlled stacks, ensuring the papers’ availability to researchers.