The Flying Man: 18th-century style

One of the great things about working in a place like Special Collections is that discovery can be an everyday occurrence. Ive written at this blogeither obliquely or directlyabout this dimension of the job, as have many of my colleagues. Whether the find is a promotional flyer for D.W. Griffiths Birth of a Nation, a journal from an arctic expedition, a letter written by Victoria Cross (one of several pseudonyms of British writer, Annie Sophie Cory), or a copy of The Great Gatsby autographed by F. Scott Fitzgerald . . . there is always some excitement even if you know that the discovery really may mean that you havent seen the item before. Someone else, perhaps a colleague, likely a predecessor, may have very well known about the book, letter, paper that youve just discovered.

Cover of LUomo Volante per Aria, per Acqua, e per Terra
Cover of LUomo Volante per Aria, per Acqua, e per Terra

So, several years ago, when I was perusing the part of our stacks that deals with aviation (the TLs for all you library-folk out there), I saw for the first time a nondescript book with a rough, brownish, handmade paper cover and pages that were clearly handmade, a book with a lot of age on it. When I opened up the book, this is what I saw: LUomo Volante per Aria, per Acqua, e per Terra. Novissima Invenzione di un Anonimo Italiano Dell Anno 1784. In Venizia Presso LAmico Dell Autore.

Roughly translated: Man Flying over the air, water, and land. New Inventions/Innovation of an Anonymous Italian of the Year 1784. In Venice at a Friend of the Author’s.

Title page ofTitle page of LUomo Volante per Aria, per Acqua, e per Terra. Novissima Invenzione di un Anonimo Italiano Dell Anno 1784. In Venizia Presso LAmico Dell Autore.
Title page of LUomo Volante per Aria, per Acqua, e per Terra. Novissima Invenzione di un Anonimo Italiano Dell Anno 1784. In Venizia Presso LAmico Dell Autore.

Most translations of the title that Ive seen are close variations of this. Could be through air or on water or on land, I suppose, but the date is clear; that it was published anonymously is clear; and it is completely clear that Id never heard of this work. A quick check showed that no English translation exists. A handwritten note on the inside front cover, reads (translated), The author is Count Carlo Bettoni. Again, he was unknown to me, but a little bit of investigating confirmed that is known to be the author of the book . . . and that only six copies are listed in Worldcat. This is the kind of discovery, a felicitous thing, that drives curiosity! That the two languages of the book, Italian and mathematics, are languages in which I am less than fluent, did nothing to quell my desire to know more.

"Dual-language" spread from LUomo Volante
“Dual-language” spread from LUomo Volante

So many things to investigate! What do we know about Count Bettoni? A few quick searches on the book title indicate that an individual named Giuseppe Avanzini contributed the mathematical content of the book, but what do all those equations seek to describe? Even more tantalizing . . . Worldcat shows that four of the six copies listed also include illustrations or folding plates! Our copy does not. The year of publication, 1784 is, itself, interesting. Only in late 1782 did the Mongolfier brothers of France start their experiments with balloons, with the first untethered balloon flight with a human aboard occurring on 21 November 1783 in a system of their design. It is fair to say that the early and mid 1780s saw the craze of ballooning emergeespecially in Britain and France, but also in Italyas a popular craze and a seductive possibility for scientific investigation. Apparently, Bettoni took part, but he also seems to have let his imagination range over . . . what, improved methods of transportation over land and sea, as well?

Bettoni was born in 1725 to a wealthy landowning family in what is now Brescia in the Lombardy region of north Italy. The aptly-named [?] Biographical Dictionary of the Society for the Diffusion of Useful Knowledge (184244) describes him as “a nobleman passionately fond of science, and a munificient patron of scientific men.” In 1768, he founded the Academy of Agrarian Brescia and, apparently, conducted experiments to protect mulberry trees from a rampant epidemic. In some circles, (see A General Collection of the Best and Most Interesting Voyages and Travels in All Parts of the World . . . Digested on a New Plan by John Pinkerton, vol. 4, 1809), and as a result of these experiments, Bettoni was credited with discovering a new silkworm! Bitten by the ballooning bug in 1783, Bettoni went to work with Avanzini on what would become L’Uomo Volante.

Born in 1753, Avanzini studied theology and mathematics at Brescia, while preparing himself for the priesthood. He came to Bettoni’s attention and had gained recognition for his skill as a mathematician by the time he collaborated with Bettoni on Thoughts on the Government of the Rivers (1782) a work that reported on the practice of planting specific kinds of trees along riverbanks to impede erosion and decrease the dangers of flooding. They would work together again after L’Uomo Volante on a large and unfinished project to produce a topographical map of the area surrounding Lake Garda, the largest lake in Italy located about halfway between Brescia and Verona. Whatever the nature of the collaboration between the two men, it is clear that the substance of the mathematical element Avanzini contributed to L’Uomo Volante and to other projects, was the work of a man who would go on to become professor of mathematics and, later, of physics and applied mathematics at the University of Padua. His work, primarily in the area of fluid dynamics, would earn him membership in the Italian National Academy of Sciences (Societ Italiana). While I am not qualified to judge the quality and appropriateness of the mathematics in L’Uomo Volante, I would guess that it could be evaluated seriously.

The Enciclopedia Italiana di Scienze, Lettere ed Arti describes L’Uomo Volante, in one of the few characterizations I have found, as “miscuglio piuttosto audace di prosa scientifica e di progetti palesemente utopistici” (translated as “a rather bold mixture of scientific prose and blatantly utopian projects”). The Enciclopedia, also known as Treccani says that Bettoni, an “agricultural and technical aviation pioneer,” was the first to propose a dirigible balloon and a system of propulsion based on rowing. Other sources also suggest his is the first recorded version of an elongated airship, a spindle-shaped balloon, rather than the spherical balloons either in use or proposed at the time. (The use of the word “dirigible” suggests a rigid frame, but I do not know if this is part of the Bettoni/Avanzini design.)

Macchina volante per aria (Flying machine for the air, Tav. 2 (with permission: Fondazione Istituto Internazionale di Storia Economica "F. Datini" Biblioteca in Linea)
Macchina volante per aria (Flying machine for the air, Tav. 2 (with permission: Fondazione Istituto Internazionale di Storia Economica “F. Datini”
Biblioteca in Linea)

Of course, there were plans for the more typical version, as well, but with some accommodation for steering and/or propulsion.

Macchina volante per aria (Flying machine for the air, Tav. 1 (with permission: Fondazione Istituto Internazionale di Storia Economica "F. Datini" Biblioteca in Linea)
Macchina volante per aria (Flying machine for the air, Tav. 1 (with permission: Fondazione Istituto Internazionale di Storia Economica “F. Datini”
Biblioteca in Linea)

There were also two drawings included for water travel, one involving an elongated system of paddles:

But now, when we come to land, well, this giant-sized hampster wheel really got my attention! Check it out!

Carro volante per terra, Flying chariot/cart/wagon for land (with permission: Fondazione Istituto Internazionale di Storia Economica "F. Datini")
Carro volante per terra, Flying chariot/cart/wagon for land (with permission: Fondazione Istituto Internazionale di Storia Economica “F. Datini”)

So, should we ignore this work that seems to have garnered little attention over a couple of centuries? Is it the work of a wealthy amateur scientist (read: crackpot) whose mathematician colleague lent his skills for a free ride? Is it to be taken seriously? Doesn’t someone want to translate it? Is this the basis for a thesis or dissertation just waiting, screaming, in fact, to be tackled? Surely, some student in the history of science and technology wants to rediscover Signori Bettoni and Avanzini. Ladies and Gents, Studente e Studentesse . . . step right up!

Click here for the Full Text of L’uomo volante per aria, per acqua e per terra. (Will open in a new window.)

If Thou Hast Crushed a Flower

One of my favorite parts of working in Special Collections is that I’m always coming across something beautiful and unexpected that I never knew we had. Case in point: the Daniel Bedinger Lucas scrapbook. Opening the average looking notebook cover reveals page after page of intricate pressed flower arrangements surrounded by handwritten poetry and and prose. There’s even a few locks of hair delicately woven and stitched into some of the pages. What’s unexpected is how vibrant most of the flowers still look- it’s really hard to believe they were picked some 150 years ago. Despite being so delicate, most of the arrangements have held up exceptionally well.

 


So who was the man behind this beautiful book? Daniel Bedinger Lucas was born March 16, 1836, at “Rion Hall” in Charleston, Virginia (now West Virginia). He attended the University of Virginia, and then studied law under Judge John W. Brockenbrough of Lexington, Virginia. In 1859 he began practicing law at Charleston but moved the next year to Richmond. The scrapbook was compiled some time during this period in the early 1860s, when Lucas was working as a lawyer in Richmond.
At the beginning of the Civil War in 1861 he joined the staff of General Henry A. Wise and took part in the Kanawha Valley campaign, but his physical disability from a childhood spine injury kept him from active service in the last years of the war. Toward the end of the war he ran the blockade to defend his friend John Yates Beall, accused of being a Confederate spy, but was unable to defend him against the charges. Beall was executed on Governors Island, New York.


Barred from the practice of law until 1871, due to restrictions on the service of ex-Confederates, Lucas turned to literature and became co-editor of the Baltimore Southern Metropolis. At this point his writing became more than just a hobby, and many of his poems were published in this magazine. Lucas’s volumes of poetry include The Wreath of Eglantine (1869) and Ballads and Madrigals (1884). He wrote three plays about the Civil War. His books include The Memoir of John Yates Beall (1865) and Nicaragua, War of the Filibusters (1896). He was known as the “poet of the Shenandoah Valley.”

In 1869, Lucas married Lena Tucker Brooke, of Richmond. Their only child, Virginia, was born in 1873. He reentered the practice of law in 1871 and took a prominent role in the Democratic party politics of West Virginia, acting as Democratic elector in the elections of 1872 and 1876, to the legislature in 1884 and 1886, and as a member of the supreme court of appeals from 1889 to 1893. He died at Rion Hall in Charleston on June 24, 1909.

The entire scrapbook is scanned and can be seen online here. I will leave you with one of his many poems from the scrapbook titled “If Thou Hast Crushed a Flower”
If thou hast crush’d a flower
the war may not be blighted;
If thou hast quenched a lamp
once more it may be lighted
But on thy harp, or on thy lute
the string which thou hast broken
shall never in sweet sound again
give to thy touch a token!

Ms1995-012_Scrapbook_Spread081

Stars in the Nebula

The last post to this blog about the William J. Heron Speculative Fiction Collection was in October 2013. As a fan of science fiction, I think thats too long to go without exploring the treasure trove of early science fiction contained in the collection. The Heron Collection includes thousands of classic science fiction magazine issues from many of the best known pulp titles. While perusing the collection, I discovered Nebula Science Fiction[PN6120.95.S33 N42], the first Scottish science fiction magazine (and, as far as I can tell, the only Scottish science fiction magazine until Spectrum SF started its short life in 2000). Nebula originally caught my eye because of its title. I thought it might be associated with the Nebula Awards but thats not the case. I was pleasantly surprised, however, to discover that an author Im currently reading, Robert Silverberg, had his first story published in Nebula: Gorgon Planet was published in issue #7 in February 1954.

Nebula Science Fiction published a total of 41 issues from Autumn 1952 to August 1959. The magazine was published by Crownpoint Publications in Glasgow, Scotland and was subsidized by its editor, Peter Hamilton. It was published in the later part of the pulp magazine era which spanned from approximately the 1890s through the early 1960s. Pulp magazines gained their name from the quality of paper used to publish them. They were printed on paper made from wood-pulp which turns yellow and brittle more quickly than other types of paper. The magazines were not intended to last and collections like the Heron Collection are special partly because they preserve the history of early fiction magazines printed in this way. In Britain, Nebula was an important publication in the genre along with New Worlds and Science Fantasy. Itincluded work from many authors who are well known today, including Robert Silverberg, John Brunner, A. Bertram Chandler, and Robert A. Heinlein.

Nebula_1-1
Nebula Science Fiction v.1:no.1 (Autumn 1952)

Robert Silverberg contributed 7 stories to Nebula beginning in 1954. Silverberg has won multiple Hugo, Nebula, and Locus awards, is a member of the Science Fiction and Fantasy Hall of Fame, and was presented with the Damon Knight Memorial Grand Master Award in 2004. His first published work, Gorgon Planet, appeared in Nebula Science Fiction #7 in February 1954. Other stories of his inNebula include: “Always” (March 1956), “Solitary” (March 1958), “Godling Go Home” (April 1958), “The Fires Die Down” (June 1958), “Strong Waters” (January 1959), and “The World He Left Behind” (February 1959).

Nebula_7
Nebula Science Fiction no.7 (February 1954)

John Brunner had 6 stories in Nebula beginning in Spring 1953. Brunner also has won Hugo, Nebula, and Locus awards. His best known works include Stand on Zanzibar, and The Sheep Look Up. His stories began appearing in Nebula with Brain Power in issue #2.His otherNebula stories are: “By the Name of Man” (July 1956), “Hope Deferred” (November 1956), “The Number of My Days” (December 1956), “Treason” (May 1957), and “The Hired Help” (February 1958).

Nebula_1-2
Nebula Science Fiction v.1:no.2 (Spring 1953)

A. Bertram Chandler was published 5 times in Nebula starting with The Window in issue #22 in July 1957. Chandler was the recipient of four Ditmar Awards from the Australian Science Fiction Foundation. In 1992, the Australian Science Fiction Foundation established the Chandler Awards, a juried award for Outstanding Achievement in Australian Science Fiction, in his honor. His four other works in Nebula are: “The Successors” (August 1957), “Artifact” (September 1957), “Motivation” (April 1958), and “Words and Music” (July 1958).

Nebula_24
Nebula Science Fiction no.24 (September 1957)

Robert A. Heinlein stories appeared in Nebula 3 times starting with Ordeal in Space in issue #9 in August 1954. Heinlein is a winner of the Locus award, multiple Hugo and Prometheus Hall of Fame awards, and was presented with the Damon Knight Memorial Grand Master Award in 1975. He quoined the terms grok, waldo, and speculative fiction and popularized terms such as TANSTAAFL (there aint no such thing as a free lunch), pay it forward and space marine. In 2003, The Robert A. Heinlein Award was established to honor outstanding published works in science fiction and technical writings to inspire the human exploration of space. It is administered by the Baltimore Science Fiction Society. Heinlein’s other two stories in Nebula are: “Rebellion on the Moon” (April 1955) and “Green Hills of Earth” (January 1956).

Nebula_9
Nebula Science Fiction no.9 (August 1954)

TheWilliam J. Heron Speculative Fiction Collection includes 37 of the 41 published issues of Nebula Science Fiction[PN6120.95.S33 N42], including most of the issues containing the works of Silverberg, Brunner, Chandler, and Heinlein. It also includes 85 issues of New Worlds[PR1309.S3 N49] and 78 issues of Science Fantasy[PR1309.S3 S45].Allare available to view in the public reading room at Newman Library.

 

Exploring the Lived Experience of Women Architects

The International Archive of Women in Architecture is supported by approximately 300 rare books and published manuscripts written by or about women working in the built environment.Many of these authors have archival collections in the IAWA, including Anna Sokolina, Brinda Somaya, Cristina Grau Garcia, Carmen Espegel Alonso, Despina Stratigakos, Inge Horton, and Susana Torre.

Reflecting the broad interests and expertise of women architects around the world, these books discuss a range of topics. Texts on the Russian Avantgarde movement and Soviet civil planning are accompanied by analyses of the intersection between gender and architecture; Viennese garden design theory and fireplace innovations accompany contemporary criticism and Caribbean architecture textbooks. Biographies and anthologies complement conference proceedings and exhibition catalogs.

Autobiographies often exist at the intersection of archives and literature. This blog will highlight a selection of autobiographies from the IAWA collections. Spanning three different eras of practice, these texts offer a glimpse into the private experiences and public struggles of early women in architecture. These books are available to view in the public reading room at Newman Library.

EnamoredWithPlace

Wendy Bertrand
Enamored with place: as woman + as architect (2012)
[
NA1997 .B48 2012]

Wendy Bertrand is a registered architect from California. A student of both the cole des Beaux Arts (1964-65) and University of California, Berkeley, her extensive career has included major projects for the U.S. Navyand the U.S. Forest Service. Her archival papers are maintained by the IAWA. An excerpt from the authors page captures the book as follows:

“As a single mother, Wendy Bertrand accepted job security over the potential glamour, prestige, or celebrity of private practice, where architectural stars shine. She tells us how she pursued a career while continuing to value her perspective and insight as a woman, a mother, and someone who cares passionately about social equity. Her love of place infuses every aspect of her personal and professional life. She tells us of her adventures in travel, education, marriage, childbirth, motherhood, and work. This is also a story about a woman coming into her own as she matures, enjoys the fiber arts, and embraces the elements of her life that have enduring value.” (Excerpted from
http://wendybertrand.com/enamored-with-place/)

AusMeinemLebenCover.jpg

Karola Bloch
Aus Meinem Leben (1981),
[CT3150 B5 A3 1981]

Karola Bloch (born Piotrowska, 1905) was a Polish-German architect who practiced in Austria, France, Czechoslovakia, the United States, and Germany. Her German-language autobiography is rich with unforgettable stories, including an eyewitness account of the October Revolution in Moscow, her tenure as a Soviet informant in Austria, a Nazi raid on her home in a Berlin artists colony, the loss of her immediate family in the Treblinka concentration camp, and anecdotes from her marriage to Marxist philosopher Ernst Bloch. Karola Bloch was a founding member of the International Union of Women Architects, accompanied by several other women represented in the IAWA. Archival materials from her life are housed by the Ernst Bloch Archives in Ludwigshafen.

LoisGottlieb.jpg

Lois Gottlieb
A way of life : an apprenticeship with Frank Lloyd Wright (2001)
[NA737.W7 G67 2001]

Lois Gottlieb is a California architect specializing in residential design. This visual autobiography based on a traveling exhibit captures Gottliebs experiences in Frank Lloyd Wrights famed Taliesin Fellowship, where she served as an apprentice for eighteen months in 1948-1949. Gottlieb was profiled alongside IAWA members Jane Duncombe and Eleanore Pettersen in the 2009 documentary film A Girl is a Fellow Here – 100 Women Architects in the Studio of Frank Lloyd Wright.Her archival papers are housed by the IAWA.

The Life and Art of G. Preston Frazer

G. Preston Frazer in 1969
G. Preston Frazer, 1969 (Walter Gropius/G. Preston Frazer Papers, Ms1992-052)

Recently, we were relocating some large paintings for an exhibit in Special Collections, and as I researched the artist, I felt he deserved a spotlight here. The artist is G. Preston Frazer (1908-2003), an Associate Professor of Art at Virginia Tech from 1939 until 1974. Frazer graduated from Virginia Military Institute with a B.A. in Liberal Arts in 1929, before earning a B.S. in Engineering from the University of Hawaii in 1935. Two years later, Frazer received a master’s degree in Architecture from Harvard University.

Cover of Frazer's Six Pencil Drawings of Honolulu, Hawaii, U.S.A.
Cover of Frazer’s Six Pencil Drawings of Honolulu, Hawaii, U.S.A.,1939 (G. Preston Frazer Collection, Ms2009-098)

Frazer began focusing his career on art, following work at the University of Chicago’s Oriental Institute and the Megiddo Expedition in Palestine. In 1939, he published Sixteen Pencil Impressions of Honolulu, Hawaii, U.S.A., inspired by his time in the then-territory. That year, he also began teaching in the architectural engineering department at Virginia Tech, but left to serve with the Second Armored Division of the U.S. Army during World War II, participating in the Normandy landings on D-Day. Upon leaving the military in 1946, Frazer had reached Major in the General Staff Corps and earned the Belgium Fourragere (twice), the French Medal of Liberty, and a Bronze Star with Oak Leaf Cluster. He served in the Army Reserves until retiring at the rank of Lieutenant Colonel in 1968.

Returning to Virginia Tech in 1946, Frazer taught art in today’s College of Architecture and Urban Studies until his retirement in 1974. The university established the G. Preston Frazer Prize, awarded annually to art graduates, and the College continues to award students for their work in the G. Preston Frazer Architecture Fund/Architecture 2nd Year Competition.

One of the paintings by Frazer that Special Collections displayed is Hercules Shooting the Stymphalian Birds (photograph from exhibit below). A letter in the G. Preston Frazer Collection (Ms2009-098) explains where the idea came from: “One of my favorite sculptures is an archer shooting a bow – The large life size one by Bourdelle is in the Metropolitan, NY. I went to see it every time I was in NY, and I named it ‘Hercules Shooting the Stymphalian Birds.'” (You can see this sculpture online on the museum’s website, also below.) He continues, “I painted (oil on canvas) a figure (life size [-] Mike Sr, was the model) – of ‘Hercules Shooting the Stymphalian Birds’ (a canvas about 5 ft. by 8 ft.)”

Frazer worked on the painting from his studio overlooking Virginia Tech, where students would visit to see his projects. He recounts a funny incident during his painting, “One of the students who came in saw the buildings and said ‘Oh, that is Burress Hall, V.P.I. I hope Hercules shoots it & burns it down! (said jokingly of course.) It was in the Joan [sic] Fonda anti-establishment, anti-war period, etc. I explained that Hercules was shooting the Stymphalian Birds. Hercules’s labors were good deeds. Hence instead of just shooting the Bow, he was destroying Birds which were enemies of Humans!!”

In addition to Hercules and the aforementioned G. Preston Frazer Collection (Ms2009-098), Special Collections has a painting Frazer made of Icarus and the Walter Gropius/G. Preston Frazer Papers (Ms1992-052), with photographs and correspondence between Frazer and Walter Gropius, founder of the Bauhaus School. The G. Preston Frazer Artwork (Ms1992-055) contains a beautiful sketchbook of scenes in Spain in 1953 and several artworks. For your viewing pleasure, I end this post with a few of those pieces, including scenes from Blacksburg and the Virginia Tech campus. More can be seen on online at ImageBase.

The Definition of Processing as Told From an Empathetic Intern

I started working with Special Collections in September. I wasn’t sure what to really expect. I had previously done artifact analyses at my high school, but the work I have done here has been a bit different. The majority of collections I have worked on with Special Collections are either Civil War related or Engineering related. Both types had their own quirks. The Civil War soldiers and writers thought it was necessary to store hair in their letters and the engineers took few good pictures, though both were surprisingly good at sketching.

 A letter from a Civil War Soldier in 1862. Collection Finding Aid:http://search.vaheritage.org/vivaxtf/view?docId=vt/viblbv01811.xml
A letter from a Civil War Soldier in 1862. Collection Finding Aid:http://search.vaheritage.org/vivaxtf/view?docId=vt/viblbv01811.xml

As I read through each collection, these people’s lives, I consistently learned something new. I organized and processed a collection by a Chemical Engineer from Alaska who produced rocket fuel and science fiction. His name was John D. Clark. In addition, I organized the files of an Aerospace Engineer named Blake W. Corson, Jr. I found these two men particularly inspiring because they both believed it was their responsibility to serve the people around them with the skills they had. In engineering classes we are taught many things, part of the curriculum are ethics. Part of ethics are to use the skills you have to better the world. Both Clark and Corson embodied these ethics and consistently strove to make the communities surrounding them better. Corson, for example, created multiple documents detailing a better waste management system for Newport News, Virginia, that he eventually mailed to President Jimmy Carter. As I uncovered more documentation on these men I learned a great deal about their lives and I grew to admire them.

IMG_2120
Correspondence Receipts from the Blake W. Corson, Jr. Papers (In Processing)

I was also reminded of my on mortality, many of the people who I now hold in high esteem are dead. Every collection I have processed was for someone who died. Many were eloquent in the way they worded their thoughts others went from talking about an execution to the minced pies they were eating. In my opinion some of the soldiers were heroes and some of them weren’t and some of them just wanted to see their families one more time. The engineers are heroes in their own way as well. Both were key cogs in the space agency machine working towards the goal of getting rockets off of the ground and making better aircraft for the military. All are dead. Sometimes I do not notice that these people are buried somewhere near their families or in an undiscovered grave waiting for the next Civil War historian to discover them. When I remember these things I remember why I sit at a desk for a minimum of two hours at a time writing a person’s name once or even a hundred times. The idea is that this person will be remembered and their distant relatives might find their names. They will be found as a relic from the past that a family can reminisce over or claim as their heritage. I am glad that I have been a part of that process, even if only for a little while.

Ms1990-055_CorsonBlake_B_F_sketch_1962_0510
Apollo Escape Craft Sketch from the Blake W. Corson Jr. collection (In Processing)
Ms1990-055_CorsonBlake_B_F_Drawing_1962_0803
Apollo Escape Craft from the Blake W. Corson, Jr. Collection (In Processing)

Since I have talked a lot about the things that I have processed I want to give you an idea of work I do. The steps seem repetitive, but I actually find the work relaxing and remedial.As a processing intern, my responsibilities have been relatively straight forward and simple. I wanted to end on these steps because they are the dictionary definition of what I do as opposed to my personal definition of what I do.

Step 1: Look at files. Read the files if they do not span longer than a cubic foot of box.

Step 2: Organize and catalog each document in the collection. Personally I color code with plastic clips.

Step 3: Review organization and file order, reorder.

Step 4: Label each folder with a box number and folder number.

Step 5: Create a resource on the collection.

Step 6: Create the appropriate notes.

Step 7: Begin again.

By Kaitlyn Britt

The Coade, Hard Facts…about Artificial Stone

Working with the History of Food & Drink Collection for the last few years has helped me build up an interest in advertising. Since 2011, we’ve been acquiring materials for our Culinary Pamphlet Collection, which contains hundreds of pamphlets, booklets, and cards/card sets. Much of the collection consists of small recipes books that consumers would either have sent away for or received free, full of recipes that use a product or products and aimed at encouraging future purchasing. In 2013, we started building the Culinary Ephemera Collection, which contains things likelabels, broadsides, trade cards, puzzles, menus, and postcards. There are lots of great bites of culinary ephemera–just the kind of items you’ll find me blogging about on “What’s Cookin’ @Special Collections?!” It’s through food and food advertising history that I first got into trade cards, but that’s not the only place you’ll find them.

Which brings us toCoade’s Lithodipyra or Artificial Manufactory Trade Card:

Ms2015-045_tradeCard_jpg

This collection is among what we call our “1-folder collections.” The entire collection, in this case, consists of the single trade card, probably printed around 1784. But, there’s a great deal of history to even a single small piece of paper. (In other words, don’t let the size of a collection fool you!)

The image is believed to have been one carved above the door at the factory. The woman whose belt is labeled “Ignea Vis” (or, “Firey Force”) appears to be overpowering a winged figure, who has both a tail and a trumpet, but we have no other clue to who or what he represents. The text reads:
Coade’s Lithodipyra or Artificial Stone Manufactory For all kind of Statues, Capitals, Vases, Tombs, Coats of Arms & Architectural ornaments &c &c; particularly expressed in Catalogues, & Books of Prints of 800 Articles & upwards, Sold at ye Manufactory near Kings Arms Stairs, Narrow Wall Lambeth, opposite Whitehall Stairs, London
The Latin above the three women reads, “nec edax abolere vestusas.” This is most likely the second half of the second of two lines from Ovid’sMetamorphosis:Iamque opus exegi, quod nec Iovis ira nec ignis/nec poterit ferrum nec edax abolere vetustas. Of, if you prefer: “And now my work is done, which neither the anger of Jupiter, nor fire,/nor sword, nor the gnawing tooth of time shall ever be able todestroy.” It seems an obvious advertising suggestion at the timelessness of the artificial stone manufactured by the company. Which brings us toCoade’s Lithodipyra or Artificial Stone Manufactory.

 

Coade’s was a company run by Eleanor Coade (1733-1821). Her first business was as a linen-draper, but she eventually shifted to making artificial stone, referred to as “Coade stone.” (Seeing a woman run any sort of business at time is only one of the reasons the trade card is such a stand-out item!) She ran the company from 1769 until her death in 1821, at which point her last business partner, William Croggon, continued the business until 1833. Coade produced stone for famous architects of the time, including John Nash. Nash’s works using the stone included the Royal Pavilion, Brighton, andthe refurbishment of Buckingham Palace in the 1820s. Other sites using the stone wereSt. George’s Chapel, Windsor and the Royal Naval College, Greenwich.

 

You can see the finding aid for the collection online. It offers a little more context to the trade card (designed by sculptor John Bacon, who studied at the Royal Academy). A trade card often seems like a simple thing, without much to do, other than advertise a company–but that isn’t usually the case. There’s a great deal of thought as to what goes into the design, what effect it might have, and what its real intention is. Certainly, Bacon probably thinking of this as a work of art, nor was Coade expecting it to last 231 and find its way to our collections, but it really is a work of art and it still has value over two centuries later. What that value is…well, art is in the eye of the beholder, just like research value. It’s up to you and me to figure out what this small, but not insignificant collection can mean.

Thanksgiving Dinner with Pop Owens

In the days before World War II, the Annual Thanksgiving Day Military Classic was played in Roanoke between Virginia Polytechnic Institute (V.P.I.) and Virginia Military Institute (V.M.I.) to determine the state football championship. In addition to the game, there were many festivities, parades, dances at the major Roanoke hotels, dinners, and parties in Roanoke followed by formal dances at the German Club and Cotillion Club when the cadets returned to Blacksburg.

John J. "Pop" Owens, Mess Steward
John J. “Pop” Owens, Mess Steward

In 1917 Pop Owens served his first Thanksgiving dinner for more than 500 hundred on the Sunday after Thanksgiving at the Mess Hall. Young ladies who remained over from the dances were guests in the private dinning hall along with their dates. The Thanksgiving repast became a much anticipated tradition at V.P.I. for as long as Pop Owens lived.

John Joseph Owens (V.A.M.C. class of 1879) was appointed Mess Steward for the 1917-1918 school year to replace the late John H. Shultz. Owens had experience with large dining operations at the University of Chicago and at Johns Hopkins University as well as with the Roanoke Elks Club. Under his stewardship, Mess Hall (soon to become the Dining Hall) took on a new excellence, and he became a favorite of the cadets and earned the affectionate nickname Pop. For Christmas 1917, the members of Company B presented him with a $50 gold piece in a handsomely wrapped box.

Pop Owens was legendary as the dining hall steward. Of course, there were a few bumps along the road. Owens introduced soft-boiled eggs for breakfast that first October. The eggs all disappeared up the sleeves of the cadets. None were eaten. After the cadets marched back to barracks and were dismissed, the air was suddenly filled with flying eggs in a brief but fierce battle. Pop never served soft-boiled eggs again.

1921 Thanksgiving Menu
1921 Thanksgiving Menu
1921 Thanksgiving DInner Menu
1921 Thanksgiving Dinner Menu

Thanksgiving week of 1921 was an exciting time as the Corps of Cadets was invited to participate in the celebration in Richmond in honor of Ferdinand Foch, Marshall of France and Generalissimo of the Allied Armies during World War I. At the Thanksgiving Day classic the next day, V.P.I. triumphed over V.M.I., 26 – 7.

The 1921 Thanksgiving Dinner menu includes Fatimas, a brand of cigarette marketed as exotic Turkish tobaccos but produced in the United States by the Liggett & Myers tobacco company. Collectible cards of popular actresses of the day were included with each pack.

1929 Thanksgiving Dinner Menu
1929 Thanksgiving Dinner Menu
Floyd Mead and Turkey at a Football Game
Floyd Mead and Turkey at a Football Game

The outcome of the 1929 Annual Thanksgiving Day Military Classic of the South would once again determine the state football championship. Although Floyd Hard Times Mead drove a pair of turkeys instead of the usual one, regaled in orange and maroon ribbons, V.M.I. won the game 14 – 0.

1929 Thanksgiving Dinner Menu
1929 Thanksgiving Dinner Menu
Back of the 1929 Thanksgiving Dinner Menu
Back of the 1929 Thanksgiving Dinner Menu
Back of 1930 Thanksgiving Dinner Menu
Back of 1930 Thanksgiving Dinner Menu

V.P.I. avenged the past three years of losses to V.M.I. with a 24 – 0 win in the 1930 Thanksgiving Classic. Once again V.P.I. claimed the title of State Champions.

1930 Thanksgiving Dinner Menu
1930 Thanksgiving Dinner Menu

The 1930 Thanksgiving menu indicates a locavore concern with eating local foods with the Montgomery County raised turkey and Virginia salt peanuts and creamery butter.

 

The Quadrangle from the Air, from the 1931 Bugle
View of the Quadrangle from the Air, from the 1931 Bugle

 

To learn more about the history of Virginia Tech, visit Special Collections on the first floor of Newman Library.

Source: Harry Downing Temple, The Bugle’s Echo: A Chronology of Cadet Life (Blacksburg, Virginia: Virginia Tech Corps of Cadets, Inc., 1998), vol. III, IV, and V.

Breaking News: You can follow us on twitter, @VT_SCUA!

Recently, our graduate student Rebecca asked about our twitter account – the question being why aren’t we on twitter yet?! Thanks to her prompting, we now are – check us out at @VT_SCUA!

Our twitter @VT_SCUA
Our Twitter @VT_SCUA

Our first post you will notice is about the exhibit currently on display in our reading room windows about the history of African American female students and student groups at Virginia Tech. And guess what….one of our student volunteers, Alexis, came up with the idea and put it together!

Part of exhibit on African American Women at Virginia Tech
Part of exhibit on African American Women at Virginia Tech

With millions of users on Twitter, it’s a great way to stay current with different Virginia Tech departments and other libraries. Also, we hope the website will encourage our users to engage with us by asking questions, sharing their ideas, or notifying us of relevant stories and news. Because of its nature – being only 140 characters per tweet, we’ll be able (we hope) to share with our followers and others a bit more frequently than we are able to just via our blogs. Some tweets to look for from us include photos of neat items from our collections; announcements of new finding aids, new exhibits, or digital exhibits; upcoming events; and new blog posts on either this blog or our food and drink blog, What’s Cookin’ @ Special Collections?!

We hope that you will enjoy this new way to interact with us at @VT_SCUA!

 

There’s Something about Mary…or rather, James or Eleanore or William

This week, I though we might peel back another layer of Special Collections and peek behind the curtain again. It seems like a good follow up on the heels of my colleague John’s post last week. He described a particular collection and included lots on information on the collection’s creators, Joseph P. and Margaret James. So, today, I thought I’d write about the people in our collections–more specifically, how we go about putting them in context.

Ms67_002_Tyler_photo002a
J. Hoge Tyler, Virginia governor from 1898 to 1902 (more on him in a moment!)

First, a noteon finding aids. If you’ve been following us for a while, you’ve inevitably seen a link somewhere to a finding aid. Hopefully, you’re curious and you’ve followed one of those links and seen one of our finding aids online (we have nearly1,800 online and new ones in progress all the time). If you haven’t looked at one before, you might want to right now. Here are a few of my favorites (and no, they aren’t just ones I’ve written)…Who I am kidding, they are all my favorites! But here are a few examples:

If you took a look, you’ll notice they have some things in common (mostly the elements that appear in them and to some extent, the structure), but just as much, if not more, is different. The Tyler family collection has a long, detailed, highly structured list of contents. The Pettersen collection has a large project list that’s available as a separate spreadsheet–that spreadsheet was a much better way to convey what the collection contained, given the variety of types of materials. The Tippett letterhas a much shorter description, since the entire collection is only one item. And the receipt book is a great example of a collection where we don’t have much information at all, other than the collection itself. There are a lot of things I could say about finding aids, but we’ll save some of it for future posts. Today is about that lovely “Biographical Information” section.

Biographical notes in finding aids are there to (hopefully) provide context and background on the people who created and/or are the subjects of a collection. Seems straight-forward enough, right? Part of the job of our archivists is to help provide that context. And it can come from many places.Sometimes, the collection itself is a rich source of information. It could contain biographical files, CVs or resumes, or secondary research completed by someone else.

Tyler Bio

This is only a portion of the J. Hoge Tyler Family Collection biographical note. Because the collection documents several generations of family members, it’s extensive. Information in the note comes from the collection (you learn a LOT about people by processing their papers), but also from published sources. Since Tyler was a governor of Virginia, there’s no shortage of published biographical informationon him. We have books in our Rare Book Collection that often support us doing research on people connected to the local area, Virginia history, and other subjects in which we specialize, like the Civil War.

Tippett Bio

William Tippett’s biography issignificantly shorter for a couple of reasons. First, the collection is smaller. It’s not always an even ratio between size of collection and length of the biographical note (more on that in a bit), but it can be factor. It’s easy to get caught up trying to unravel the threads of someone’s life story and I am a sucker for it, but at the same time, we have lots of collections needing our attention. Our goal is provide you, the researcher, with some sort of context. Second, William Tippett’s collection contains a letter from his service in the Civil War and the best information we had available at the time related to his military history, so the biographical note reflects that. That’s not to say you wouldn’t find more about William Tippett in many places (I’m certain you could), but this particular note reflects the letter’s contents. In this case, we used a regimental history of the 1st West Virginia Infantry, located in our stacks, to write the note. Then, there’s something like the Hertford Receipt Book:

Hertford Bio

Although the receipt book includes several names, as you can see, they aren’t very thorough and don’t leave even the best archivist (or researcher!) a lot to go on. The other catch with this particular collection is that it’s from England and we have far fewer British genealogy resources available (or at least had, in 2008 when the collection was processed).

All that being said, if you’re interested in doing genealogy research on your own, there are endless resources out there and it would take more posts than I’d have time to write in a year. However, your local academic and public libraries probably some tools to get you started. Last year, the University Libraries acquired a subscription to Ancestry Library Edition, which is a collection of more than 4,000 databases and 1.5 billion names. It contains census, birth, death, military, and marriage records, as well as digitized yearbook collections, immigration information, maps, genealogy indexes, and more. And that’s only for the U. S. materials. Ancestry also contains records relating to Canada and the U. K. Lots of other libraries subscribe, too, so it never hurts to ask.

If you have a library card for the Montgomery-Floyd RegionalLibrary, you have access to something called Heritage Quest, which is a database that includes census records and indices. You can check out Heritage Quest, and some of their other genealogy resources online. If you’re part of a different public library system, ask them! Librarians have access to lots of cool resources.

Ms2013_060_TippettWilliam_1864_0317a
The first page of William Tippett’s 1864 letter. I’ve written about it on our History of Food and Drink blog previously. You can read the post online (https://whatscookinvt.wordpress.com/2014/01/30/william-tippett-letter/) and see the whole letter with transcripts on our Omeka site (https://digitalsc.lib.vt.edu/items/show/2827).

And, of course, Special Collections is here to help, too. If you want to visit us to do some research, we have a guide you started:Local History and Genealogical Research in the University Libraries. This will tell you about some of the resources available at Newman Library and in Special Collections specifically. The guide is adapted from a print resource and we’ve done our best to update it, but if you run into something odd, give us a shout. You can also always check out the library’s catalog and our finding aids. You might be surprised at just where you can find connections to your family’s past. Plus, it might give you a little more insight into the kind of work that archivists do everyday.