We have recently digitised Speculum Brittaniae (O.4.19) and in so doing were reminded of a piece of historical detective work undertaken in the 1970s.
In the late 16th century, the cartographer John Norden (c. 1547-1625) began a project to produce a survey of every county in England as a series called Speculum Britanniae. The project was never fully completed. Norden presented the manuscript copy of his Cornish survey containing maps and descriptions to King James I. This manuscript (now catalogued as Ms Harl 6252 in the British Museum) has long proved an enigma: bound within it is a series of engraved, printed maps. These maps were a later replacement for the original manuscripts maps, but the whereabouts of the original manuscript maps was unknown. In the 1970s this puzzle was solved by William Ravenhill of the University of Exeter.
At some point after 1642 – probably during the Civil War – the manuscript presented to the King was removed from the Royal Library and the maps were separated from the text. The antiquarian, Roger Gale (1672-1744) later purchased these maps and kept them together with another early manuscript copy of Norden’s survey that he acquired around 1696.
In 1728 William Pearson, working for the bookseller Christopher Bateman, produced a printed edition of Norden’s survey of Cornwall. He used as his basis the royal manuscript (Ms Harl 6252), but because the maps had been removed and were by that time in the possession of Roger Gale, he borrowed them from Gale in order to copy them and produce a series of engraved maps for the printed edition. A contemporary, Thomas Hearne (1678-1725), of the Bodleian Library, wrote:
The mapps in Norden’s Cornwall, lately printed, Mr Bateman borrowed of Roger Gale, Esq. They were returned to Mr Gale again … These Mapps without doubt belonged originally to the MS. That Mr Bateman hath and printed from …
Four copies of the printed edition were made on vellum, as well as 200 other copies on paper. Trinity College Library possesses one of the vellum copies (X.15.51 ) as well as two copies of the edition printed on paper (X.16.47 and Grylls 5.108).
Bateman then had a set of the engraved maps coloured and bound with the original manuscript (Ms Harl 6252). As part of a large bequest in 1738, Gale presented his composite copy to Trinity College. It was this manuscript that William Ravenhill, following various leads over 200 years later, realised contained Norden’s original manuscript maps.
A new exhibition – Science Made Visible: Drawings, Prints, Objects – is open, free of charge at the Royal Society 6-9 Carlton House Terrace, London, SW1Y 5AG until December 2018. The exhibition looks at how visual representations were used in the conduct of early modern science. It includes sketches, drawings and prints of subjects as diverse as botany, astronomy and mechanical engines. Trinity College has loaned a number of items to the exhibition including Isaac Newton’s astronomical ring dial, a parallel rule and drawing instruments, as well as woodblocks used for the printing of the Principia Mathematica.
For more information see here and for an online exhibition see here.
2018 marks the centenary of the Representation of the People Act; a law which gave the vote to certain women in Britain, as long as they were over 30 and met a property qualification. Ten years later, women achieved the same voting rights as men. We are also celebrating the 40 year anniversary of female undergraduates being admitted to Trinity College. To honour this landmark year of anniversaries, we have compiled a display highlighting a few of our items relating to women’s suffrage drawn from the Pethick-Lawrence Collection.
Vehement socialist, Emmeline Pethick met Trinity alumnus, Frederick Lawrence in 1900.
After Emmeline denied him marriage a number of times due to her deeply rooted socialism, Frederick began to move left in his political view. The pair married in 1901, combining their names, and soon became major figures in the fight for women’s suffrage.
The Pethick-Lawrences got involved with the Women’s Social and Political Union (WSPU), an organisation founded by Emmeline Pankhurst and her daughters in 1903. However, the WSPU tended towards an extreme and violent approach to attaining the vote for women, which led to the incarceration of both Pethick-Lawrences.
This letter from Emmeline Pethick-Lawrence to the WSPU, written from Holloway prison, emphasises her pride in the union, and describes how comforting it is that her prison uniform is green and white, and her library card “faintly purplish”, the same colours that represent the suffrage movement. The choice of these colours for the organisation is attributed to Emmeline.
PETH 7/167 (i)
PETH 7/167 (ii)
PETH 7/167 (iii)
Lady Constance Bulwer-Lytton (known as Constance Lytton) was an influential British activist and writer in support of suffrage, prison reform and birth control. She is best known for revealing class prejudice in the treatment of imprisoned suffragettes.
Lady Constance was well treated in prison, but when incarcerated under the pseudonym ‘Jane Warton’, a less wealthy suffragette, she had her teeth broken, and was forcibly fed to the point that permanent damage was done to her heart.
PETH 9/9 (i)
PETH 9/9 (ii)
This note written by Lady Constance highlights her passionate opinion on the necessity of violent protest.
Millicent Garrett Fawcett
Millicent Garrett Fawcett, suffragist and political leader, who was recently immortalised as a statue that faces Westminster Palace in London, was pioneering in the fight for the right to vote. At 20 years old, Millicent was deemed too young to sign the 1866 petition, but went on to dedicate the rest of her life to attaining votes for women. She died in 1929, only a year after women achieved the same voting rights as men.
In this letter to Lady Constance, Millicent suggests that she is trying to enlist the help of influential men in her campaign for suffrage, such as soon-to-be Prime Minister, David Lloyd George.
PETH 9/12 (i)
PETH 9/12 (ii)
Daughter of known radical Emmeline Pankhurst, Christabel Pankhurst wrote this letter to Lady Constance, criticising various powerful men for not doing more to help the cause. She comments on the indignation of suffragettes being incarcerated and abused for such things as “inciting speeches”, while the militant movement in Ulster cost thousands of lives, but the men responsible were walking free.
Christabel’s final words of this letter embody her lively and forthright personality, and confidence in the suffrage movement:
“Thank-goodness we can win without [men] anyhow […] Women winning their own freedom. Glorious thought!”
Jean de Gonet (1950-) is one of the best-known modern French binders. His work represents a revolution in traditional modern binding featuring visible sewing structures and the use of unusual materials, including metals, rubber and plastic. On display are a number of examples taken from the Kessler Collection. As an example of an unusual material, the bindings for Ulysses and Appogiatures use ‘revorim’, de Gonet’s own purpose-designed moulded plastic for book covers.
Nicholas Kessler (matriculated 1958) both bought and commissioned bindings by de Gonet, with whom he had meetings on several occasions. In notes made by Mr Kessler at one such meeting, de Gonet explains his binding method:
Book to open properly
Leather or other material on spine separated from cover so that repeated opening of the book will not destroy the join between cover and spine
Make the bands on the outside of the spine functional
Mr Kessler recounts their first meeting in 2004 in his own inimitable style, referring to himself as NEK:
‘A meeting was therefore arranged at 3 o’clock on Monday April 26th in Paris. His studio, in the basement of a building in an inside courtyard, is locked but visitors are instructed to “frappez fort”. NEK did this. No reply. Uncertain, in case JdeG had reverted to the recluse mode, NEK struck the glass portal again and the door opens. NEK introduces himself and a welcoming smile crosses the face of the door opener who also introduced himself. “Sorry”, he says, “but there is a psychiatric clinic next door and our door is constantly having to be opened to their patients who mistake our studio for the clinic. Hence the locking”. NEK said that he was mad enough to buy expensively bound books but had otherwise, at least to date, not been certified.[!]’
Trinity College has seen many notable botanists pass through its doors, perhaps most famously John Ray and Francis Willughby, whose magnificent busts by Roubiliac adorn the entrance to the Wren Library. A small exhibition running until 4 July 2018 celebrates the botanical paintings of Clarence Bicknell, a student at Trinity in the 1860s who spent most of his working life in the Italian Riviera, where he died 100 years ago on 17 July 1918.
After graduating from Trinity, Clarence Bicknell followed a familiar path into the church, serving as a curate first in Newington, Surrey then Stoke-on-Tern in Shropshire, where he joined the Brotherhood of the Holy Spirit. This semi-monastic community was founded by another Trinity man, Rowland Corbet, a leading light of the Oxford Movement whose beliefs were contrary to those of the Unitarianism of Clarence’s father. In 1878, perhaps inspired by Corbet’s own visits to the Italian Riviera, Bicknell accepted a one year appointment as deacon of the Anglican church in Bordighera.
Clarence came from an artistic family: his father Elhanan Bicknell, whale oil magnate and art patron, collected works of art by renowned British artists such as Turner, Gainsborough and Landseer, while his mother, Lucinda Browne, was the aunt of Phiz, the illustrator of Charles Dickens’s books. In 1878 Clarence gave up his role in the church to concentrate on botany. He developed considerable skill as a botanical artist: within five years he had painted over 1,100 botanical watercolours and had published Flowering Plants and Ferns of the Riviera. He donated over 3,300 of his botanical plates to Genoa University and another 1,100 are in other museums and collections. Clarence was a driving force in a network of many of the leading botanists of the day such as Emile Burnat in Switzerland, Augusto Béguinot in Genoa and Harold Stuart Thompson in the UK, with whom he exchanged samples and correspondence.
Clarence started going up into the Maritime Alps behind Bordighera in the 1890s to extend his botanical research from coastal specimens, and also perhaps to escape from the stifling atmosphere of the summer heat and the vie mondaine of the summer visitors on the coast. From 1897 onwards he became more and more absorbed by the study of the prehistoric rock engravings that he had been told existed in the Mont Bégo area, now in the Parc du Mercantour, a French national Park about an hour’s drive north of Nice. He and his helper Luigi Pollini discovered, logged and made rubbings of 11,000 rock engravings and published in 1902 The Prehistoric Rock Engravings in the Italian Maritime Alps.
Clarence’s artistic talents flourished when he could let his creative and design skills come to the fore, when he was not restricted by doing meticulous botanical and archaeological recording. This manifested itself in the creation of hand-painted vellum-bound albums that he did for friends and relations. His niece Margaret Berry gave him a blank album every year which he then returned to her completed. The albums represent the height of Clarence’s artistic talent with a delightful blend of Victorian whimsy and design skill, clearly influenced by the Arts and Crafts Movement. At least fourteen are known to exist, seven of which were donated to the Fitzwilliam Museum in 1980 and two of which are on display in the Wren Library.
A Children’s Picture Book of Wild Plants is carefully designed and colour-coordinated, with four plants illustrated on the right often with a frame, and on the left a description of each plant. Clarence, in this and many of the albums, delighted in taking the colours and details of flowers as motifs for the frame and for decorative capital letters.
The Book of Guests in Esperanto provides potted biographies of several of Clarence’s friends in Esperanto. His notes are on the left page with their initials illuminated and a flower in a matching border on the right. Clarence was a great believer in the universal language Esperanto and felt it could be a formula for world peace. He attended international congresses, taught it to friends and wrote poems and hymns. There are pages ranging from eminent botanists and archaeologists to three dogs in the family. This page is for his nephew Arthur Berry, lecturer in mathematics at Cambridge and sometime Vice-Provost of King’s College.
The Casa Fontanalba Visitors’ Book was created for Bicknell’s home in the mountains, the Casa Fontanalba, which he built in 1906, adorning it with frescoes of mountain scenes, wild flowers, friezes, initials of visitors and proverbs in Esperanto. The visitors’ book has a wild flower in an arts-and-crafts border on the right and signatures of about 250 visitors, including famous archaeologists, botanists, writers, Esperantists, soldiers and politicians.
A new film about Clarence Bicknell is available here
See more of Clarence Bicknell’s paintings in the exhibition ‘Floral Fantasies’ at the Fitzwilliam Museum until 9 September 2018
Marvels: The Life of Clarence Bicknell by Valerie Lester, a new biography, is published in June 2018. For more information see www.clarencebicknell.com.
In an earlier post we looked at Wifredo Lam’s collaboration with Antonin Artaud and Aimé Césaire. Here we consider his work in producing books with the writers Ghérasim Luca, René Char and Jean-Dominique Rey.
Wifredo Lam’s grandest and most complex book is the remarkable Apostroph’Apocalypse, a collaboration with the poet Ghérasim Luca (1913–94). In 1952 Luca had fled his native Romania via Israel to Paris, where his work was already known in Surrealist circles through his pre-War publications and his correspondence with André Breton. His poems often involve sophisticated word-play, and Apostroph’Apocalypse is based around the conceit of an apostrophe which breaks words into atomic particles and thereby causes apocalyptic destruction.
The Cuban Missile Crisis of October 1962 provides one of many backdrops to this publication, which was eventually completed in 1967.
Apostroph’Apocalypse was recently described in Le Monde as ‘one of the finest books of the twentieth century’.
Wifredo Lam and Ghérasim Luca travelled to Milan to work on their ambitious publication, in order to take full advantage of the skills available there. The paper was specially manufactured for this edition by Filicarta of Brugherio, with a watermark consisting of the title of the book. Luca’s text presented considerable complexity for its typesetter, Luigi Maestri, in the placement and format not only of each word, but even of individual letters within a word.
The greatest sophistication, however, was reserved for the 14 plates which Lam contributed to the book. In this work he was greatly aided by Giorgio Upiglio, the greatest Italian art printer of the second half of the century. Upiglio devised a method to allow Lam to draw freely on bitumen powder spread on copperplates, which were then heated to fix the drawings before they were bathed in acid. This novel technique enabled a heightened granular texture to the impression of the plates, which gives a more visceral appearance in direct light.
René Char (1907–88), the great poet whose name is associated as much with the Surrealists as with the Résistance, first discovered Lam’s work at the Galerie Pierre in 1945. The initial shock of the violent forms of Lam’s paintings and the life represented in them was mitigated by the warmth and refinement of the artist’s personality when they met the following year. Their first formal collaboration came in 1953 with Le Rempart de brindilles (The Battlements of Twigs), a brief meditation on the nature of poetry to which Lam contributed 5 etchings.
Char and Lam worked together on a grander scale many years later in Contre une maison sèche (Against a Dry House), a book presenting 17 aphoristic verses by Char alongside 9 large etchings by Lam. The images are in dialogue with the poems, intended not as illustrations so much as ‘illuminations’. Char’s concise texts aim for the re-establishment of ‘a sovereignty within language’. Each page confronts stark images of a freedom present within the material world with enigmatic reflections on history and the corruption of human consciousness. Lam’s plates meanwhile convey explosive movements, fulgurances or metamorphic bolts of lightning.
As with Apostroph’ Apocalypse, Lam worked on the plates at Giorgio Upiglio’s workshop in Milan. The book was published in Paris by Jean Hugues in a luxurious edition on vélin de rives paper in a raw silk-covered folder and slipcase. The typeset portions were printed at the Imprimerie Union in Paris before the sheets were taken to Milan for the printing from plates. The plates are etchings with aquatint in colours, and unusually are cropped to fit the already large pages (380 x 550 mm): the copperplates used for the publication extended a little beyond the edge of the page.
A mock-up of Contre une maison sèche was first displayed in 1971, but it was not until 1976 that the publication was eventually completed. In 1972 Char wrote to Lam to encourage him to finish his work, looking forward to the publication of the book and writing that otherwise the ‘dry house’ of the title would not only dry out but also (financially) ‘dry him out’:
Il serait bien pour moi que tu achèves notre livre. Cette “maison sèche” va, sinon, completement sècher et me sècher!
In a pamphlet issued for the exhibition of the publication of Contre une maison sèche in 1976, Char explains some of the inspiration that lay behind Lam’s vivid plates. He describes his first sight of Lam’s paintings, in the Galerie Pierre Loeb in Paris, in 1947 or 48:
Deux toiles noueuses, agressivement surgies de terre, dégageaient leur violent et lancinant arôme de forêts réconciliées avec personnages imminents (pieds et mains y tentaient une apparition) [. . . ] Les couleurs des cubistes étaient les seules qui convenaient à leurs ouvrages ; les seules couleurs aussi que les œuvres superbes de Lam exigeaint ce jour-là.
Two knotty canvases, aggressively erected from the ground, released their violent and haunting aroma of forests reconciled with imminent characters (feet and hands were trying to make an appearance) [. . .] The colours of the Cubists were the only ones that suited their works; the only colours as well that the superb works of Lam required on that day.
L’Herbe sous les pavés
At the end of Wifredo Lam’s life he formed a new collaboration with the poet, art critic and writer Jean-Dominique Rey (1926–2016). Their joint publication L’Herbe sous les paves was Rey’s first collection of short stories, a genre in which he was to become well known, and was Lam’s last work, published only weeks before his death.
The title of the collection, L’Herbe sous les pavés, refers to a saying from the revolutionary events of May ’68, ‘there is grass growing under the cobbles’. This was later adapted more famously as ‘sous les pavés la plage’, a reference to the piles of cobblestones forming barricades placed on sandy ground. In both forms there is a direct resonance with the underground movement.
Each of the five short stories in the book is accompanied by an etching. The final plate, a very simple etching in three colours with three dogs, accompanies a story beguilingly entitled L’Aube et puis… (Dawn, and then…). Lam drew on the copperplates in his apartment in Paris. The plates were heated in his kitchen oven by Giorgio Upiglio and then etched at the studio of George Goetz. The text was printed in Paris and the plates in Milan. Lam signed all the copies in July 1982, and a notice of his death (on 11 September) was added in a second colophon.
The exhibition Wifredo Lam: livres d’artistescloses to the general public on 12 June 2018 and to members of college on 14 June, but the collection of books illustrated by Lam remains available for consultation by readers in the Wren Library.
The Cuban-born artist Wifredo Lam (1902–82) was a pioneer in incorporating non-Western ideas into his creations. A special exhibition is on display in the Wren Library until 14 June 2018, which celebrates Lam’s collaborations with several of the leading French-language poets of the twentieth century to produce livres d’artiste.
Of mixed African, Spanish and Chinese ancestry, Wifredo Lam quickly developed a distinctive style influenced by Cubism and the Surrealist movement, often involving elaborate hybrid figures. His work with the poets Aimé Césaire, Ghérasim Luca and René Char led to a series of editions printed to the highest standards in very limited numbers, and in most cases the copy in the Wren Library is the only known example in the UK. These special editions were recently presented to Trinity College by Nicholas Kessler (1937–2018).
In this, the first of two blog-posts on Lam’s collaborations with writers and poets, we examine some of his works with Antonin Artaud and Aimé Césaire.
Behind the Mirror
Derrière le miroir was a monthly publication which served as the catalogue for each exhibition at the Galerie Maeght: 253 numbers were published between 1946 and 1982. This issue was published in February 1953 and consists of a single folded sheet reproducing three new lithographs by Lam, together with a list of his exhibited paintings and a collection of endorsements of his work by notable artists and writers including Pablo Picasso, Herbert Read, Aimé Césaire, René Char, Georges Braque and André Breton.
Lam’s drawings had been used as illustrations in books in earlier years. His first experiment in printmaking was an etching produced in 1945 to illustrate a book by Pierre Loeb, Voyages à travers la peinture, published in 1946. The prints of Derrière le miroir are among his earliest works to employ the lithographic technique, and use bold blocks of colour in a manner which he was soon to abandon.
Artaud in Mexico
Antonin Artaud (1896–1948) was a major figure in the theatre of the avant-garde. After staging various notorious but financially compromising productions in Paris in the 1920s and early 30s, in 1936 he travelled to Mexico, where he investigated local forms of spirituality, recording details of his travels and of his experiments with hallucinogenic drugs. While in Mexico he wrote Le théâtre et les dieux, an attack on the present state of theatre, asserting that the day of surrealism had passed and developing a new urgency for his formulation of théâtre de la cruauté, the Theatre of Cruelty.
Lam immediately saw the implications which Artaud’s text on Mexico held for his own exploration of the complex cultural history of his native island, an encounter which was by this time creating in his paintings a great metamorphic theatre of sensuous animal-gods. Artaud’s text also contains a message to which Lam must have been sensitive, when he writes of Balthus, ‘He paints like someone who would know the secret of lightning’.
The essay was reprinted in May 1966 in an edition by Aubry-Rueff for which Lam produced 5 etchings, each with aquatint in colours. The aquatints were printed by Georges Leblanc in a studio first established in Paris in 1793.
The collector and financier Robert Altmann (1915–2017) fled Nazi Germany and established himself in Havana in 1941, where he met Wifredo Lam. Soon after this encounter he set up Brunidor Editions, which published lithographic prints to a high standard in New York and later in Paris, where Altmann became closely involved with the Lettristes. Lam contributed to Altmann’s first portfolio in 1947, alongside Max Ernst, Joan Miró and others. His third portfolio was published in Paris in 1961, and includes one of Lam’s brightest and most explosive lithographic prints alongside the work of four other artists. Among these is an arresting piece by Isidor Isou, the founder of Lettrism, and a rare lithograph by Ghérasim Luca, the poet of Romanian origin with whom Lam would later collaborate on his largest book project, Apostroph’Apocalypse. A rare set of these lithographs has been lent for display in the exhibition by Archiv AcquAvivA, Berlin.
Aimé Césaire, one of the great poets of the 20th century, published his masterpiece, the Cahier d’un retour au pays natal (Notebook of a Return to the Native Land) in 1939 in Paris, before returning to his native Martinique. Wifredo Lam, who was sailing with André Breton towards the Americas, met Césaire in Martinique in April 1941. Lam was deeply moved by the poetry of Césaire and they became friends. In 1942 Lam drew the frontispiece for the first edition of Césaire’s poem in book form, published in Cuba in a translation by Lydia Cabrera, with a preface by Benjamin Péret. In 1945 Pierre Mabille published a long study of Lam’s massive painting La Jungle in Tropiques, the journal published by Aimé and Susanne Césaire in Fort-de-France.
Césaire’s Cahier was first published in 1939 in the magazine Volontés. The exhibition includes the original offprint of the magazine printing, in one of very few surviving copies, inscribed ‘To Wifredo Lam, in token of friendship and admiration, this poem of our revolts, our hopes, our fervour—Fort-de-France, May 1941, A. Césaire’. Lam was so struck by the power of Césaire’s text that he determined to have a Spanish-language edition published in Havana. The illustrations Lam provided for the 1943 Havana edition, translated by the anthropologist Lydia Cabrera, included an anthropomorphic horse figure. These illustrations act as the first published commentary on Césaire’s long poem.
Also on display are the autograph manuscript and signed typescript of Césaire’s poem ‘Simouns’, dedicated to Lam. This poem on the desert wind, Simoom, conceives the fires of liberation in an imagined Africa. The manuscript of an essay by Césaire, ‘Wifredo Lam et les Antilles’, records that ‘painting is one of the rare weapons left to us against the sordidness of history’.
Lam and Césaire spent many years in planning a collaborative publication. In 1969 Lam had created a series of nine etchings richly coloured in aquatint, and in 1979 he showed them to Césaire. This inspired Césaire to write a set of ten poems, which were eventually published in a portfolio together with seven of Lam’s etchings in 1982, shortly before Lam’s death.
A second blog-post will discuss Lam’s collaborations with Ghérasim Luca and René Char.
A new book by Edward Wilson-Lee, Fellow of our neighbouring Sidney Sussex College and a regular reader in the Wren Library, tells the scarcely believable – and wholly true – story of Christopher Columbus’s bastard son Hernando, who sought to equal and surpass his father’s achievements by creating a universal library. Here we take a sideways look at Christopher Columbus and his son through a selection of books in the Wren Library.
La Casa de Colón
This splendidly illustrated account of the great cities of the world, printed in five large volumes in 1612–18, devotes a single plate to the three cities of Seville, Cadiz and Malaga. The perspective of Seville shows Hernando’s house, ‘La Casa de Colón’, next to the Puerta de Goles. The text was compiled by Georg Braun, and the engraved plates, hand-coloured in this copy, are largely the work of Franz Hogenberg.
As a youth, Hernando Colón spent years travelling in the New World, one of them marooned with his father in a shipwreck off Jamaica. He created a dictionary and a geographical encyclopedia of Spain, oversaw the first modern maps of the world, visited almost every major European capital and associated with many of the great people of his day, from Ferdinand and Isabella to Erasmus, Thomas More and Albrecht Dürer.
“Their words have gone out to the end of the world”
One of the first ever biographical notices of Christopher Columbus is printed rather unexpectedly in the margins of this scholarly edition of the Book of Psalms, printed in Genoa in 1516. It is apparently the first polyglot work ever published, and presents the Psalter in eight columns with the Hebrew, a literal Latin version of the Hebrew, the Latin Vulgate, the Greek Septuagint, the Arabic, the Chaldean (in Hebrew characters), a literal Latin version of the Chaldean, and scholia in the right-hand column. The editor, Agostino Giustiniani, generally made brief notes in the final column relating to textual questions, but an exception is made for Psalm 19, at the fourth verse:
Their line is gone out through all the earth, and their words to the end of the world.
A lengthy biographical notice about Christopher Columbus is attached to this verse and spreads over the following five pages (for the full biographical notice see here). Columbus had earlier used this psalm to substantiate his claim that his discoveries were not random events but rather a key part of God’s plan. Through this widely-read edition of the psalter, his discoveries became part of the meaning of the psalm, the fulfilment of its prophecy. Unfortunately the note is riddled with factual errors, and it would not have been pleasing to Hernando that it opens with the damaging allegation that Columbus was vilibus ortus parentibus—born of low stock.
Columbus in the service of Pope Innocent VIII
The earliest reference to Christopher Columbus in the holdings of the Wren Library appears in this history of the lives of the popes, printed in Venice in 1507. The book is spuriously attributed to Petrarch, who died in 1374. The account of Pope Innocent VIII, who like Columbus was Genoese by birth, reports that it was during his pontificate that Columbus discovered the New World. This echoes the inscription on the tomb of Innocent VIII at St Peter’s in Rome which states ‘Nel tempo del suo Pontificato, la gloria della scoperta di un nuovo mondo’ (‘During his Pontificate, the glory of the discovery of a new world’). But in fact Innocent VIII died on 25 July 1492, a week before Columbus first set sail across the Atlantic.
Columbus in Hexameters
The ‘Columbeidos’ is the earliest attempt by any poet to treat Columbus’s discovery of the New World as heroic fantasy. It was written in Latin in the Vergilian epic style by the grandly named poet Guilio Cesare Stella (1564–1624) and takes up more than 1700 lines of Latin hexameters. The poem is dedicated to Philip II, King of Spain and Prince of the Indies. It was first printed in London in 1585, and this Roman edition dates from 1590.
A Utopian Library Catalogue
Hernando Colón bought a copy of this book, the second edition of Thomas More’s Utopia, in Ghent in 1520, and read it in Brussels in 1522. Many aspects of the book were reflected in Hernando’s life: voyages of exploration, maps, printing, language, and the search for forms of perfection hitherto unknown. This edition includes a map of the fictitious country designed by Hans Holbein’s brother Ambrosius, and a short poem printed in the Utopian language and using the Utopian alphabet, written by the founder and first king of the country, Utopus. The printer (Froben of Basel) went to great trouble to have a special set of type cast for this poem, and it seems that it inspired Hernando to devise his own secret alphabet of very similar ‘biblioglyphs’ to describe the books in his beloved library.
‘Columbus’ is one of Alfred Lord Tennyson’s later poems, written in 1879–80 and first published in Ballads and Other Poems (1880). His son Hallam records that it was composed at the request of ‘certain prominent Americans that he would commemorate the discovery of America in verse’. Tennyson derived his view of Columbus as a religious enthusiast with a visionary mind from Washington Irving’s Life and Voyages of Christopher Columbus. The poem presents the aged navigator, now ignored and living in poverty, defeated by the selfishness and lust that had triumphed over Columbus’s ideals in the Spanish court. The poem has been understood as conveying Tennyson’s own fears about the decay of society in his later years.
Edward Wilson-Lee, The Catalogue of Shipwrecked Books: Young Columbus and the Quest for a Universal Library (London: William Collins, 2018)
Among the greatest treasures in the Crewe Collection are three volumes of etchings by Francisco Goya (1746-1823), currently on display in the Library for the first time. It is likely that Richard Monckton Milnes acquired these in Paris in the mid-nineteenth century. These volumes were accepted in lieu of inheritance Tax by H M Government from the estate of Mary Evelyn, Duchess of Roxburghe, and allocated to Trinity College in 2016.
Los Caprichos (Crewe 156.8)
Goya issued this first collection of prints in 1799. The set of 80 pictures offers a deeply satirical condemnation of the social norms of his day, and is far darker than the title of ‘Caprices’ would lead one to expect. The plates were produced with a combination of etching and aquatint, and this first edition was overseen by the artist himself. Five further etchings are bound at the end of the volume.
Los desastres de la guerra (Crewe 156.9)
Goya’s second collection of prints, ‘The Disasters of War’, was created between 1810 and 1820, as a reaction to the Peninsular War and the resultant famine which affected Madrid in 1811-12. Goya described the series of 82 plates as depicting ‘the fatal consequences of Spain’s bloody war with Bonaparte, and other forceful caprices’. Almost all of the images are deeply disturbing, and they have inspired reactions from many artists in later generations. Although Goya had printed a few proofs of all the plates in his lifetime, they were not issued as a set until many years after his death, in 1863. This set is a fairly early copy of the first edition.
La Tauromaquia (Crewe 156.10)
Goya produced the 33 prints of La Tauromaquia in 1815-16, at the age of 69, while working on the Desastres de la Guerra. The plates depict the various techniques of bull-fighting, with a particular focus on its more violent aspects. In several of the pictures the spectators are shown in shadowy form in the background. The prints were made for Goya in 1816 in an edition of 320 copies, and complete sets are now much rarer than the Caprichos and the Desastres.
For those of you who are able to visit the Library in person, the pages of each volume will be turned each week in order to display different prints. Digital images of the all three volumes can be found in the Wren Digital Library.
This presentation copy of Gesner’s Historia animalium (Zurich, 1551) was bound for Edward VI. The initials ‘ER’ are in three panels on the spine. Gold-tooled decorative bindings such as this were popular during the sixteenth century in England. The decoration was achieved by pressing heated tools through gold leaf into the leather. The binding is brown calf with the royal arms bearing the motto of the Order of the Garter: ‘Honi soit qui mal y pense’. The arms on the cover are built up by a series of gouges (created using a single-line finishing tool with a curved edge which forms a segment of a concentric circle) and fillets (a plain line – or sometimes parallel lines – created using a wheel-shaped finishing tool). Below is the motto of the British monarch: ‘Dieu et mon droit’. This inscription is also on the plain, gauffered edges. Gauffering involves using heated finishing tools or rolls to produce indented repeat patterns.
The tooled work on this binding has elements in common with another binding on a volume now in the Pierpont Morgan Library which formerly belonged to Anne Bacon (c. 1528-1610) see here. The correspondences between these two bindings confirm that this binding is English. The volume was donated to the Library by Sir Henry Puckering (alias Newton) some time between 1691 and 1701.