William Laud (1573-1645) is best known for his role in English religious and political history. He also amassed a considerable library which he presented to the Bodleian Library. The 1000-odd manuscripts have been well studied. His printed books less so, and one at least of them is in the British Library, purchased in 1859.

 Title-page of Mateo Alemán, Primera parte de Guzman de Alfarache … (Madrid, 1600) 12491.e.12

The catalogue states confidently: “Ms. notes [by Archbishop Laud]”. His signature is perfectly clear on the title page. Compare another sample:

A book with Laud’s signature, from the Hurd Library in the former Bishop’s Palace at Hartlebury Castle, Worcestershire.

The copy of Guzmán, or more correctly the first part of it (from ch 1 to the beginning of ch 8 (fol. 50v) out of 207), is full of interlinear manuscript notes which supply English translations of certain phrases. I’m not qualified to judge whether the hand is Laud’s, but the annotations certainly seem early.

Was Guzmán suitable reading for a clergyman? It’s a picaresque novel which recounts in the first person the vicissitudes of a protagonist of the criminal classes. It can be placed with fiction which teaches a moral. It’s interesting that Lincoln Cathedral Library also has Guzmán in Spanish, and in Italian, and also the apocryphal Second Part (Shaw A384, A385, M481). They’re thought to have belonged to another man of the church, Dean Michael Honywood (1597-1681) (Hurst ix-xi). Dr Williams’s Library in Gordon Square also has two parts of Guzmán in Spanish, which likely belonged to ejected minister Dr William Bates (Taylor 37).

Guzmán isn’t easy reading, and it’s perfectly understandable why our annotator felt the need for some glosses. But as with pretty much all such annotations, it’s hard to divine why he translates some words and not others. He seems not to have concentrated on hard words: is it because he didn’t understand them? By the way, I didn’t find any match with James Mabbe’s translation, The Rogue, of 1622 (12489.m.8.).

The opening of Guzmán in Laud’s copy, with annotations. A transcription follows below:

El deseo que tenía, curioso lector, de contarte mi vida me daba tanta priesa \haste/ para engolfarte \thee/ en ella sin prevenir algunas cosas que, como primer principio, es bien dejarlas entendidas -- porque siendo esenciales a este discurso también te serán de no pequeño gusto - -, que me olvidaba de cerrar un portillo \little back door/ por donde me pudiera entrar acusando cualquier terminista de mal latín, redarguyéndome de pecado, porque no procedí de la difinición a lo difinido, y antes de contarla \my life/ no dejé dicho \I did not leave it said/ quiénes y cuáles fueron mis padres y confuso nacimiento; que en su tanto, \in as much as it contaynes/ si dellos hubiera \one hadd/ de escribirse, fuera sin duda más agradable y bien recibida que esta mía. Tomaré por mayor lo más importante, dejando lo que no me es lícito, para que otro haga la baza.
Y aunque a ninguno conviene tener la propiedad de la hiena, que se sustenta desenterrando cuerpos muertos, yo aseguro, según hoy hay en el mundo censores, que no les falten coronistas. Y no es de maravillar que aun esta pequeña sombra \shadow/ querrás della inferir que les corto de tijera \that I cutt or pare with shears/ y temerariamente me darás mil atributos, que será el menor dellos tonto o necio, porque, no guardando mis faltas, mejor descubriré las ajenas. Alabo tu razón por buena; pero quiérote advertir que, aunque me tendrás por malo, no lo quisiera parecer -- que es peor serlo y honrarse dello \with it/--, y que, contraviniendo a un tan santo precepto como el cuarto, del honor y reverencia que les debo, quisiera cubrir mis flaquezas con las de mis mayores; pues nace \proceeds/ de viles y bajos pensamientos tratar de honrarse con afrentas ajenas, según de ordinario se acostumbra: lo cual condeno por necedad \folly/ solemne de siete capas \seven fold/ como fiesta doble. Y no lo puede ser mayor, pues descubro \since I discover/mi punto, no salva mi yerro \the error/ el de mi vecino o deudo \kinsman/, y siempre vemos vituperado el maldiciente. Mas a mí \as for me/ no me sucede así, porque, adornando la historia, siéndome necesario \as I shall have cause/, todos dirán \all will say/: “bien haya el \blessed be he/ que a los suyos parece \is like/”, llevándome estas bendiciones de camino.

Laud obviously cast his linguistic net wide. He promoted Hebrew and Arabic studies, and owned a pre-Colombian Mexican screenfold ms, Codex Laud (in the Bodleian, MS. Laud Misc. 678). Unfortunately it’s not known where he got it from.

Portrait of Laud, from a collection of 279 coloured portraits engraved by Baltasar Moncornet (Paris [1650-1660]) 1762.a.1.

Whether or not owner and annotator are the same, this book is a witness to the possession and reading of a Spanish classic when it was hot off the press.

Barry Taylor, Curator Romance Languages

References/further reading

David J. Shaw (gen. ed.), The Cathedral Libraries Catalogue, Vol. 2, Books printed on the continent of Europe, before 1701 in the libraries of the Anglican cathedrals of England and Wales (London, 1998). 2725.g.310

Clive Hurst, Catalogue of the Wren Library of Lincoln Cathedral: books printed before 1801 (Cambridge, 1982). 2725.p.47

Barry Taylor, ‘Los libros españoles del Dr. William Bates (1625-1699) en la Dr. Williams’s Library de Londres’, in El libro español en Londres: la visión de España en Inglaterra (siglos XVI al XIX), ed. Nicolás Bas and Barry Taylor (Valencia, 2016), pp. 13-60. YF.2017.a.19281

On Laud’s oriental mss in Bodleian:
https://archiveshub.jisc.ac.uk/search/archives/f95d440c-5254-3338-9417-d1f290471378

In most cases, literary works which have marked a turning point, a watershed moment in the history of literature, are new and original creations. However, in some cases, a similar literary outburst has come from a translation rather than the original text. It will suffice to recall the Latin version of the Bible by St. Jerome at the end of the 4th century, the so-called Vulgate and the enormous historical and cultural impact it had on Western Europe at the time.

A less known case, but no less historically important in its impact on the formation of the European Renaissance culture, is the vulgarization of the Naturalis Historia by Pliny the Elder published in 1476 by the Florentine humanist Cristoforo Landino, on which new light has been shed from the recent study of the Italian philologist Antonino Antonazzo in his Il volgarizzamento pliniano di Cristoforo Landino. (Messina, 2018; YF.2019.b.21).

In a period which witnessed the rediscovery of classical literature, through the revival of Greek and Latin authors fallen into oblivion during the Middle Ages, the translation of Pliny’s text truly marked an epochal event: Landino’s great historical merit was to make a grandiose 37-volume encyclopedia of Greek-Roman antiquity accessible in the vernacular for the first time: the editio princeps of the translation is a monumental 830-page folio volume.

The British Library holds two copies at shelfmarks IC.19693 and C.3.d.2.

Translator’s dedication (f.2) from Historia naturale di C. Plinio Secondo tradocta di lingua Latina in Fiorentina per Christophoro Landino (Venice, 1476) Above: IC.19693 ; below: C.3.d2.

Landino’s laborious work filled an important cultural void that could no longer wait. Many readers from different backgrounds benefited from it: poets, such as Luigi Pulci; artists – to name one, Leonardo da Vinci; and even explorers such as Christopher Columbus. The aftermath was so great throughout Europe, that Landino’s translation remained the only vernacular translation of Naturalis historia for almost a century: the first French translation was published in 1562 (Antoine du Pinet), the English was published in 1601 (Philemon Holland ), the Spanish in 1624 (Gerónimo de Huerta) and a complete German translation as late as 1764 (Johann Daniel Denso).

Opening of Pliny’s preface from Historia Naturale (IC.19693)

The Florentine vernacularization became a key work because it placed itself at the confluence of many questions until then unanswered: was it acceptable to translate classical literary works into the very vernacular used in everyday life by common people? How to translate a peculiar lexicon of scientific disciplines, such as astronomy, meteorology, zoology, botany, medicine and mineralogy?

And, among the many vernaculars spoken in the regions of Italy, which one was the most suitable? The debate around this last question was in fact now centuries old: it had been a burning one since the origins of Italian literature in the 13th century and had left many conflicting theories; Dante Alighieri in his unfinished De Vulgari Eloquentia (1303-04) reviewed 14 Italian vernaculars in order to identify the most ‘illustrious’ and suitable for poetry, and ended up discarding them all, including the Florentine itself – which is the reason why scholars believe he interrupted the work, the theory conflicting with the practice, as the Divine Comedy would demonstrate.

 Portrait of Cristoforo Landino from a fresco by Domenico Ghirlandaio in the Tornabuoni Chapel, Santa Maria Novella, Florence, ca 1486-90. (Image from Wikimedia Commons)

Landino’s translation answered all these questions, and even though it did not please some humanists, it was received with enthusiasm by the general public. A significant example of this is its success with a female public, as we read in Giovanni Sabadino degli Arienti’s description of his wife with her books in Gynevera de le clare donne.

...havea piacere assai in audire legere li versi de Virgilio; legea lei voluntiera Plinio de naturali hystoria, posto in materna lingua, et de li libri spirituali et sancti.
[...she very much enjoyed having Virgil’s verses read to her; she gladly read Pliny’s Naturalis Historia in her mother tongue, and holy and spiritual books...]

The relevance of this testimony is reinforced by the reaction of Francesco Florido Sabino, who, 60 years later, in his Apologia in Marci Actii Plauti aliorumque poetarum et linguae Latinae calumniatores, cursed Landino for allowing not just anybody access to Pliny’s work, but even to women. (See Antonazzo’s study p. 50)

Landino’s intention to reach a wide audicence is expressed in his dedicatory letter to the King of Naples Ferrante d’Aragona, which begins with these words:

Essendo gli animi nostri per loro natura di tanta celerità quanta né mia né altra lingua exprimere non poterebbe, né essendo altro cibo che gli pasca et nutrisca se non la cognitione, chi non vede che nessuna più grata chosa può alloro adivenire che havere vera scientia di tutte le cose?
[Our soul in its nature being as rapid as neither mine nor any other language can express, and there being no other nourishment that satisfies and feeds as cognition does, how can anyone not see that there is nothing that makes it happier than the true knowledge of all things?]

Giuseppe Alizzi, Curator Romance Collections

References

Dante Alighieri, De vulgari eloquentia, a cura di Enrico Fenzi, con la collaborazione di Luciano Formisano e Francesco Montuori (Rome, 2012) YF.2013.a.25815

Sabadino Degli Arienti, Gynevera de le clare donne (Bologna, 1888). 12226.de.8.(1.)

Francesco Florido Sabino, In M. Actii Plauti aliorumque Scriptorum calumniatores apologia ... (Basle, 1540) C.81.i.9.

The Spanish writer Agustín Fernández Mallo, who will be coming to speak at the British Library Knowledge Centre on 24 January along with his translator, Thomas Bunstead, and myself, is part of an elite group of writers after whom entire generations have been named. In this case, however, we speak not of the ‘Fernández Mallo generation’ but of the ‘Nocilla generation’.

Photograph of Agustín Fernández Mallo  by Aina Lorente Solivellas

Nocilla is the name of a Spanish delicacy similar in every way to Nutella, and the title Mallo gave to his literary project, made up of three separate books: Nocilla Dream, Nocilla Experience and Nocilla Lab. It is also the subject of a song by the Spanish punk band Siniestro Total, the lyrics of which can be reproduced in their entirety here:

Es la merendilla que nos gusta más; es tan suavecita, que gusto nos da Nocilla, que merendilla!
Mamá, más!
Nocilla que merendilla!
(This is something to the effect of: “We love having Nocilla for tea, it’s really delicious, Mum, give us some more Nocilla!”)

And yet the Nocilla project is also a far-reaching and ambitious one which shook up Spanish letters at a time when many felt that the Spanish novel was in dire straits. This juxtaposition of pop culture, advertising, and high-minded, self-declared literary ambition, is at the heart of these books, which with their rapidly-shifting mixture of quotations (some modified, some verbatim), Wikipedia-sourced research, counter-histories and total fantasy seek not just to tell a story, but to explore new pathways for narrative in the infinitely fragmented reality of the 21st century. Like Joyce and others before him, Fernández Mallo insists that he is a realist, and that the style and structure of his work is only as unusual and vertigo-inducing as the augmented reality we all inhabit. In one interview, he said: “When I use the term ‘complex realism’, what I’m suggesting is that the writer must be realist, always realist, but not realist in the sense we have usually used the term in literature. If reality today is different from the reality of 30 years ago, we can’t keep describing reality in the same way as we did 30 years ago.”

Cover of Agustín Fernández Mallo, Nocilla Dream (Canet de Mar, Barcelona, 2006) YF.2007.a.32878

One critic has described the experience of reading the books as akin to “having multiple browser windows open and compulsively tabbing between them”, and Bunstead, in his translator’s preface to the trilogy’s American edition, has described Fernández Mallo as “the first Spanish author to go viral”.

Mallo was no stranger to controversy before Nocilla, having already caused a minor upset with his previous book, El Hacedor (de Borges): Remake, in which the layout (but not the actual contents) match those of the Argentine author’s 1960 collection of poems and short prose texts. The book was ultimately withdrawn after a complaint from Borges’ notoriously litigious widow María Kodama.

So as we mark the publication of Nocilla Lab in a (highly accomplished) English translation, I don’t think we’d be wrong to called the author himself a sort of translator, one who, like Borges’s own Pierre Menard makes us look again at familiar words and text through a process of radical deracination and repositioning.

All this and more will be discussed at the event in the Knowledge Centre. Tickets are still available; you can find more information and book here. 

Rahul Bery, British Library Translator in Residence

References:

Agustín Fernández Mallo, Proyecto Nocilla (Madrid, 2013). YF.2014.a.194. The three novels Nocilla Dream, Nocilla Experience and Nocilla Lab published in one volume.

Agustín Fernández Mallo, Nocilla Dream, translated by Thomas Bunstead (London, 2015) H.2017/.6518

Agustín Fernández Mallo, Nocilla Experience, translated by Thomas Bunstead (London, 2015) H.2017/.6136

Agustín Fernández Mallo, Nocilla Lab, translated by Thomas Bunstead (London, 2019) Awaiting shelfmark

Agustín Fernández Mallo, El Hacedor (de Borges): Remake (Madrid, 2011) YF.2011.a.15220

A recent acquisition lays down the law on who could wear what in the streets of Portugal.

 Pregmatica e ley por que Sua Alteza ha por bem pellos respeitos nella declarados prohibir os trajes, vestidos de Seda com ouro, guarnições de fitas, ouro, prata, dourados, bordados coches de seis mulas, & o mais que nella se declara (Lisbon, 1677). RB.23.b.7984.

The decree stretched from from Portugal to the Cape of Good Hope.

Prince Regent Dom Pedro, responding to requests from Parliament, wishes to halt the harm to the state caused by excessive expenditure on finery, the decoration of houses (I think he means the exteriors), the design of coaches, the clothing of lackeys and the increase in their numbers, extravagant expense on funerals. The finest families are being reduced to penury by this profligacy.

He forbids the use of gold or silver (real or imitation) as decoration (except in a few cases, in small amounts, and when the fabric was made in India), the wearing of long gowns except by the clergy and the university students of Coimbra and Evora, and clothing made from fabric not manufactured in Portugal.

Coaches with more than four mules or horses are banned.

 An elaborate 17th-century coach from the Museu Nacional dos Coches in Lisbon  (Photo by cytech from Wikimedia Commons [CC BY 2.0])

Anyone disobeying this law will not only be fined, but will be forbidden to enter the presence of the king or any royal official.

Sumptuary laws, as they’re called, in the west go back to the Romans. Their purpose seems to have been sometimes to protect local industries by restricting imports, and sometimes to stop common folk aping their social betters. On a higher moral level, both Christianity and pagan Stoicism were against ostentation in dress.

Silk was a common focus, though we have it on good authorities that in silk-producing areas such as Valencia even the poorest went in silks.

Such restrictions might seem outdated to us, but clothes are still a bone of contention in some areas: do you recall when in 2004 the exclusive Burberry brand was allegedly taken over by ‘chavs’? 

The baroque period is often described as one of display, but not everyone saw its down side.

Barry Taylor, Curator Romance Collections

References/Further reading:

Juan Sempere y Guarinos, Historia del lujo y de las leyes suntuarias de España (Madrid, 1788)

Alan Hunt, Governance of the consuming passions: a history of sumptuary law (Basingstoke, 1996) YC.1997.a.188

On 24 September 2018, the British Library welcomed a galaxy of leading specialists to a study day addressing the history, literature and arts of the French Caribbean and its diaspora.

The day kicked off with a comparative overview of Francophone and Anglophone Caribbean colonisation and post-war migrations by keynote speaker Professor H. Adlai Murdoch. French colonisation of the Caribbean was such that by the late 18th century Haiti, an island of 600,000 slaves, produced 60% of the world’s coffee. Despite the abolition of slavery, France retained political power over les Antilles and the legacies of colonisation remain to this day. In 1946 the islands of Martinique and Guadeloupe were given the status of départements, i.e. officially part of France. However, when Martiniquans and Guadeloupeans were invited to join the French workforce in the 1960s, they were met with racial prejudice and unfairly treated as immigrants, when they were only moving from the periphery to the centre of their own country. (A finalized version of Professor Murdoch’s presentation is available on the website of the French Studies Library Group).

The morning panel focused on history, heritage and migration. Sophie Fuggle spoke about the legacy of the ‘bagne’ (penal colonies) in French Guiana and ‘dark tourism’, and Antonia Wimbush discussed the French Caribbean’s contribution to the Second World War, events that are left out of official French narratives. Emily Zobel Marshall, the granddaughter of writer Joseph Zobel, movingly read excerpts from letters he wrote to his wife describing his experience as a Martiniquan in Paris in 1946.

Beth Cooper closed the morning’s proceedings with a presentation of the British Library’s exhibition ‘Windrush: Songs in a Strange Land’.

 Emily Zobel Marshall talking about her grandfather Joseph Zobel (Photo by Phoebe Weston-Evans).

The afternoon opened with a panel on Francophone Caribbean literature. Jason Allen-Paisant gave a presentation on French Caribbean theatre and showed us a fascinating video of the first production of Aimé Césaire’s  Le roi Christophe at the Salzburg festival in 1964. Vanessa Lee talked about Suzanne Césaire’s plays, and Kathryn Batchelor looked at how Frantz Fanon’s classic The Wretched of the Earth was disseminated worldwide: the English translation was written in much more accessible language than the original French, which explains its impact in the Anglophone world.

Jason Allen-Paisant presenting the video of the 1964 production of Le roi Christophe. (Photo by Emily Zobel Marshall).

The state agency in charge of organizing the migration flows from the Antilles to France between 1963 and 1981 was the BUMIDOM (Bureau pour le développement des migrations dans les départements d'outre-mer). Jessica Oublié and Marie-Ange Rousseau, the author and illustrator of the graphic novel Peyi an nou, told us about their research into the small histories of families who came to France. The book originated in Jessica’s desire to record her terminally ill grandfather’s life for a family scrapbook. It rapidly became clear to her that the story of his move to Paris was about much more than one individual, and reflected the destinies of a wider community. The graphic novel thus shows the author’s research process using archives and interviews, “pour relier petite histoire et grande Histoire” (to connect the story with History).

The event concluded with a presentation from Jean-François Manicom on curation and visual arts in the French Caribbean.

Charles Forsdick introducing Jessica Oublié and Marie-Ange Rousseau. (Photo by Phoebe Weston-Evans).

The study day was rounded off by an evening with Canadian-Haitian writer Dany Laferrière at the Institut français focusing on his book The Enigma of the Return. He reluctantly but jokingly read an excerpt he was not proud of, and talked about his election to the Académie française. Describing Québecois as humble and Haitians as “megalomaniac”, he affirmed that the award was both “beyond him” and “simply not enough”. He is, after all, in his own words, “le plus modeste poète du monde” (the most modest poet in the world).

The study day was organised by Professor Charles Forsdick (University of Liverpool/AHRC) and Teresa Vernon (British Library). in partnership with the AHRC ‘Translating Cultures’ theme, the Eccles Centre for American Studies at the British Library and the Institut français.

Laura Gallon

Laura Gallon was a PhD placement student at the British Library where she worked on a project assessing holdings of migrant narratives in the North American collections. She is in the second year of her PhD at the University of Sussex looking at contemporary American short fiction by immigrant women writers.

Many researchers who have explored the extensive Spanish collections of the British Library will have consulted the Catalogue of the Manuscripts in the Spanish Language in the British Museum (London, 1875-1893; RAR 090.16 Eng). Compiled by the orientalist and bibliophile Pascual de Gayangos y Arce (1809-1897), the work can be seen not only as a scholarly catalogue, but also as exemplifying his role as a cultural bridge between Spain and the English-speaking world.

Pascual de Gayangos y Arce, from La Ilustración Española y Americana, 8 October 1897. LOU.F899

For some six decades, Gayangos was arguably the most respected Spanish scholar in both Britain and the United States. His first contact with the British Museum occurred during a research visit to London in 1835 when he learned of the acquisition of manuscripts from the library of Juan de Iriarte (1703-71), who had been the Spanish Royal Librarian. He even added to the Spanish collections the following year when he sold a series of original letters relating to the history of England and Spain to the Museum (now BL Egerton MS 616).

In 1837, Gayangos set up home in London in order to carry out research for his major work, The History of the Mohammedan Dynasties in Spain (London, 1840-1843; 14003.f.23), based on manuscripts held by the Museum. Soon, he became a familiar figure in the reading rooms. The American historian Jared Sparks commented to William H. Prescott in 1840 that among ‘a hundred readers and transcribers, of all nations and tongues … you see Gayangos eagerly poring over his Arabic manuscripts’. During this time he willingly aided a growing number of scholars; hunted in library, book trade and auction catalogues and in private collections for Spanish books and manuscripts; wrote on Spanish topics for books, journals and encyclopaedias; gained the friendship of Hispanophiles such as Richard Ford; and performed the role of ‘literary ambassador’ for Spain in London. It was in 1842 when, according to Gayangos himself, he began his catalogue of the Museum’s Spanish manuscripts as an aid to his own research. In 1843, however, he returned to Spain where he was appointed to the chair of Arabic at the University of Madrid, but this did not prevent him from strengthening his links with ‘dear old England’.

The British Museum Reading Room. Wood engraving after C. Gregory from The Pictorial World, 5 December 1874. MFM.M93349 [1874]

Annual visits to London began in 1855 and he continued to note systematically the Museum’s new acquisitions of Spanish materials. He also investigated its rare riches such as the Bauzá collection of maps and charts when, in the 1860s, he was commissioned by the Spanish Government to study documents relating to the historical rights of Spain to her colonies. Significantly too, he generously shared his discoveries with fellow scholars such as William Stirling-Maxwell, John Rutter Chorley, Edward Churton, Frederick W. Cosens and, later, Henry Spencer Ashbee and Norman Maccoll. The British Museum Trustees were therefore happy to entrust the Spanish manuscripts project to a scholar who, on Stirling-Maxwell’s recommendation, ‘has had some considerable share in furnishing materials for almost every good English book on any Spanish subject which has appeared during the last thirty years’. Gayangos made the formal proposal in 1867. He retired from the chair in Madrid in 1870.

 Title page of vol. IV of Gayangos’ Catalogue of the Manuscripts in the Spanish Language in the British Museum

Despite his age, Gayangos showed phenomenal vitality during the last three decades of his life and, while continuing to work on the Catalogue, he visited Simancas, Brussels and Vienna. He was also employed by the Public Record Office in the continuation of the Calendar… of State Papers relating to England and Spain. His career came to a sad end on 28 September 1897 when, crossing Southampton Row, probably en route to or from the Museum, a ‘badly driven horse’ knocked him to the ground, causing his death some days later. For those interested in ‘las cosas de España’, he left behind the Catalogue and the Calendar, just two of ‘his long series of impersonal, objective works’ that, in the words of James Fitzmaurice-Kelly, ‘but faintly mirrored’ his true stature. Today the two works, the Catalogue and the Calendar, remain essential reference tools and can be consulted on the open access shelves of the British Library.  

Santiago Santiño Ramírez de Alda, Historian and Author

References/further reading

Calendar of letters, despatches and state papers relating to the negotiations between England and Spain… vols. 3-7 (London, 1871-99) HLR 941.

Cristina Álvarez Millán and Claudia Heide (eds.), Pascual de Gayangos. A Nineteenth-Century Spanish Arabist (Edinburgh, 2008) YC.2009.a.4466.

James Fitzmaurice-Kelly, ‘Chronique’, Revue Hispanique, 4 (1897), 337-41, p. 341.

Santiago Santiño, Pascual de Gayangos (1809-1897). Erudición y cosmopolitismo en la España del Siglo XIX (Pamplona, 2018) YF.2018.a.9696.

Barry Taylor, Manuscritos hispánicos de la British Library: estado de su investigación y publicación

Roger Wolcott (ed.), The Correspondence of William Hickling Prescott (1833-1847) (Boston & New York, 1925) 010902.i.30..

As another year ends, it’s time to look back again at our blogging activity in 2018 and to remind ourselves and our readers of what we got up to during the year and of the wonderful contributions of our colleagues within and outside European Collections and of our guest bloggers. And if any of you are grumbling about ‘typical seasonal repeats’, we’ve sprinkled this post with some festive and wintry images from our collection of Russian postcards which we hope are new to you.

2018 was a year of many anniversaries. The end of the First World War loomed large, but we looked less at the end of the conflict itself than at some of its consequences, such as the establishment of the Belarusian Democratic Republic or the Dutch revolution-that-wasn’t. We also organised a study day looking at the legacy of 1918 in European film, part of a series of events which culminated in a performance of ‘Contagion’, a piece by the Shobna Jeyasingh Dance Company commemorating the 1918 Spanish Flu pandemic which killed more than the War itself.

As well as the centenary of end of the First World War, 2018 was the 400th anniversary of the outbreak of another destructuve European conflict, the Thirty Years’ War, deemed to have started with the second Defenstration of Prague on 23 May 1618. Other anniversaries we marked were the 200th birthdays of Ivan Turgenev, Karl Marx, who was also the focus of an exhibition in our Treasures Gallery, and Emily Bronte, whose Wuthering Heights set many challenges to its translators.

Talking of translation, we welcomed our second Translator in Residence, Rahul Bery, in July. Other newcomers attached to the department included PhD Placement student Phoebe Weston-Evans and Collaborative Doctoral Student Hannah Connell, who wrote about their work on French First World War posters and the Russia in the UK Web Archive respectively, and our first ever Chevening Fellow, Sanja Sanja Stepanovic-Todorovic, who is working on our rich collections of 19th- and 20th-century publications from Balkan Academies. 

As ever, we kept up with the Library’s exhibition programme. In the last weeks of ‘Harry Potter, a History of Magic’ we featured posts on witches and the mediaeval History of Merlin. When ‘James Cook, the Voyages’  opened, we looked at the Icelandic trip taken by Joseph Banks when he dropped out of Cook’s second expedition, and also at the life of one of the naturalists who replaced him on that expedition, Georg Forster. The exhibition celebrating the anniversary of the Empire Windrush prompted a post on the relatively unknown history of Swedish colonization in the Americas, and the accompanying series of events included a study day on history, literature and migration in the French Caribbean. Our current free exhibition ‘Cats on the Page’ has already prompted posts on Russian cats and a mummified Italian cat, and we can promise you more cats in the new year!

But not everything was anniversary or exhibition related. We explored the little-known languages Sart, Gagauz and Vilamovian, and remembered J.R.R. Tolkien’s enthusiasm for Esperanto. A series of guest posts teased out the fascinating story of Polish and Russian works that prefigure  George Orwell’s Animal Farm, and speculated on whether Orwell himself could have been aware of these. There was another British connection in two posts about redoubtable British women with a passion for the Balkans – nurse and humanitarian Louise Paget and mountaineer Fanny Copeland.

For sporting types we had posts on a Spanish cricket fan and a day at the races with Victor Hugo’s daughter Adèle. If you prefer more artistic pursuits, we celebrated World Ballet Day and dipped our toes into the world of contemporary fashion. And for the cooks among you, we developed a curious fascination with herring. 

Of course we always try to make our own collections central to our posts, and we celebrated the acquisition of, among other things, a French Revolutionary periodical and an Italian Futurist work. A recent Spanish antiquarian acquisition, meanwhile, offered a novel way to memorise the Bible.

We hope you’ve enjoyed reading and following our blog this year, and that we’ve picked some of your favourite posts or some you may have missed for this review. If you’re here for the first time, we hope you’re tempted to visit us again! Meanwhile, we wish you all a Happy New Year and a wonderful 2019.

European Collections Blog team

The last home of the poet and humanist Petrarch (Francesco Petrarca, 1304-1374) in the small Northern Italian town of Arquà became a place of literary pilgrimage and tourism early on. Successive 16th-century owners of the house emphasized its connection with Petrarch, among other things by commissioning frescoes depicting his life and works, and welcomed travellers to see the home of the great man.

Travel accounts from the late 16th century onwards describe the house and its various artefacts associated with the poet. Alongside the things one would expect to see in such a place – Petrarch’s chair, the cupboard where he kept his books and so on – the accounts also mention the rather ghoulish exhibit of a mummified cat. In a mock epitaph inscribed beneath its body, the cat claims to have been dearer to the poet even than his beloved muse Laura because, while Laura inspired Petrarch’s verses, the cat ensured their survival by protecting the manuscripts from the gnawing teeth of mice.

The mummified cat, with epitaph, from Stephen Weston, Petrarchiana, or, Additions to the Visit to Vaucluse... 2nd edition (London, 1822) 1048.k.17.(2.)

The French traveller Nicholas Audebert (whose account is preserved in the British Library, Lansdowne MS 720) visited the house in 1575 and was told that the cat had belonged to Petrarch and used to accompany him everywhere. Accounts by Fynes Moryson and Giacomo Filippo Tomasini, published in 1617 and 1623 respectively, also mentioned the feline monument, and in 1635 the first picture of it appeared in a work by Giacomo Filippo Tomasini, Petrarcha Redivivus. Here the poor creature is exposed on a plinth, rather than in a niche with the epitaph beneath as it is more usually shown and described, although Tomasini does reproduce the text of the epitaph.

The cat as reproduced in Giacomo Filippo Tomasini, Petrarcha Redivivus, integram poetæ celeberrimi vitam iconibus ære celatis exhibens. Accessit nobilissimae foeminae, Lauræ brevis historia. (Padua, 1635) 137.d.18

The cat continued to capture the attention of visitors. Byron – himself a keeper of many pets – was apparently delighted by it and the German poet August von Platen dedicated an epigram to it. The monument still features in modern tourists’ TripAdvisor reviews. The story of Petrarch’s beloved pet, the faithful companion and comfort of his last years has appealed to generations of cat-lovers. 

Petrarch and his cat, engraving by Jacob Wilhalm Mechau from a drawing by Christian Gottlieb Geyser, in vol. 4 of Johann Georg Zimmermann, Ueber die Einsamkeit (Leipzig, 1785)  8409.bbb.8.

However, there is one drawback to this touching tale: we have no evidence that Petrarch ever owned a cat. Although he makes some mention of his dogs in his letters, and a 2-line epitaph to a little dog called Zabot is attributed to him, there is nothing about any cat. This is surely particularly surprising if he owned a cat so dear to him that he chose to commemorate it after its death. Also, both the mummified cat and the inscription are thought to date from the 16th century, long after Petrarch’s death. So how did the association come about?

The most likely theory is that it originates from early depictions of Petrarch in illuminated manuscripts where he is sometimes shown with a small dog (a reference to little Zabot?) and occasionally with a cat. In one manuscript of ca 1420, held in the Biblioteca Medicea Laurenziana in Florence (MS Strozzi 172), a cat is even depicted chasing a mouse in Petrarch’s study, the very job described in the epitaph of his supposed pet. But rather than a realistic depiction of Petrarch’s domestic life and pets, it is more likely that both animals are, in the words of J.B. Trapp, “in some sense a replacement for the lion that legend gave to St Jerome for a companion in his studies.”

St Jerome and his lion, from the Prayer book of Sigismund of Poland, 1524, Add. 15281 f.3v

Nonetheless, it is credible that familiarity with such images might have inspired the 16th-century owners of Petrarch’s house to invent the story of the poet’s beloved cat. It has even been suggested by the author of the Shaping Sense blog that the monument was set up as a kind of mockery of the cult of literary pilgrimage and literary relics that its creators were simultaneously trying to encourage.

Whatever the truth, the cat’s story continues to flourish, especially in the online world. An internet search brings up both sober discussions of the story’s reliability and fanciful tales about the mutual affection of the animal and its master. Various German websites (such as this one) even attribute to Petrarch the words, “Humanity can be roughly divided into two groups: cat lovers and those who are disadvantaged in life”, and you can buy a variety of tote bags, fridge magnets and the like bearing this decidedly un-Petrarchan saying with its undoubtedly false attribution.

Caught between his two loves? Petrarch gazes at a picture of Laura while his cat looks on. Engraving by Bartolomeo Crivellari from a drawing by Gaetani Gherardo Zompini, from vol. 2 of Le Rime del Petrarca brevemente esposte per L. Castelvetro ... (Venice, 1756) 638.i.7.

Whether or not Petrarch truly owned and loved a cat, we can safely say he would have been astounded by the physical and literary afterlife of such a creature.

Susan Reed, Lead Curator Germanic Collections

References/further reading:

Fynes Moryson, An Itenerary written by Fynes Moryson, Gent … Containing his ten yeeres travell through the twelve dominions of Germany, Bohmerland, Sweitzerland, Netherland, Denmarke, Poland, Italy, Turky, France, England, Scotland, and Ireland (London, 1617) 214.e.16.

Niccolò Franco and Ercole Giovannini, Li duo Petrarchisti dialoghi di Nicolo Franco, e di Ercole Giovannini … (Venice, 1623) 1161.d.10.

J. B. Trapp, ‘Petrarchan Places. An Essay in the Iconography of Commemoration’ Journal of the Warburg and Courtauld Institutes, Vol. 69 (2006), pp. 1-50. Ac.4569/7.

Achim Aurnhammer, Petrarcas Katze: die Geschichte des kätzischen Petrarkismus (Heidelberg, 2005). YF.2007.a.9350

The free British Library exhibition Cats on the Page continues until 17 March 2019, with a series of accompanying events for all ages and interests.

There have been schemes stretching back to Antiquity for making it easier to retain information in our heads. Many memory practitioners recommended word-image association: conjure up an architectural edifice in your mind and place a nugget of knowledge in each niche.

This memory book, however, is entirely verbal.

Martin del Río, Ars biblica, sive herma memorialis sacra, in qua metricè S. Paginæ libri, capita, eorumque medulla memoriae facillimè commendantur ... (Ecija, 1778) RB.23.a 38345

This pocket-sized book, recently acquired, enables the reader (presumably a preacher like the author) to memorise the chapters of the Latin Vulgate Bible using one word (or its abbreviation) to summarise each chapter.

For example, the Epistle to the Ephesians (p. 110).

Ch 1 is summarised by “Christum ad dexteram in coelestibus constituens”, which is part of verse 20 “quam operatus est in Christo, suscitans illum a mortuis, et constituens ad dexteram suam in cælestibus” [Which he wrought in Christ, when he raised him from the dead, and set him at his own right hand in the heavenly places].
This is boiled down to “Constituens”.

Ch 2 is summarised by “Estis sanctorum cives”, which is part of verse 19” Ergo jam non estis hospites, et advenæ: sed estis cives sanctorum, et domestici Dei” [Now therefore ye are no more strangers and foreigners, but fellow citizens with the saints, and of the household of God].
This is boiled down to “Cives”.

Ch 3 is summarised by “genua mea patrem flecto” which is part of verse 14 “Hujus rei gratia flecto genua mea ad Patrem Domini nostri Jesu Christi” [For this cause I bow my knees unto the Father of our Lord Jesus Christ]
This is boiled down to “Flecto”.

Ch 4 is summarised by “dona hominibus Dedit” which is part of verse 8 “Propter quod dicit: Ascendens in altum, captivam duxit captivitatem: dedit dona hominibus” [Wherefore he saith, When he ascended up on high, he led captivity captive and gave gifts unto men]
This is boiled down to “Dedit”.

Ch 5 is summarised by “ecclesiae Christus est caput” which is part of verse 23 “quoniam vir caput est mulieris, sicut Christus caput est Ecclesiæ” [For the husband is the head of the wife, even as Christ is the head of the church: and he is the saviour of the body]
This is boiled down to “Est caput”.

Ch 6 is summarised by “tenebrarum rectores harum” which is part of verse 12 “quoniam non est nobis colluctatio adversus carnem et sanguinem, sed adversus principes, et potestates, adversus mundi rectores tenebrarum harum, contra spiritualia nequitiæ, in cælestibus” [For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places]
This is boiled down to “Harum”.

Put them together and they make an “easily” (he says “most easily”, facillime) memorised hexameter line: “constituens cives flecto dedit est caput harum”.

At least that’s the theory.

 Fr Martín’s summary of the Epistle to the Ephesians, Ars Biblica [pp. 110-111]

Fr Martín gives a chronological survey of earlier publications: Bonaventura in 1270, Petrus Rosenbeimensis [von Rosenheim] in 1450, Matthias Martinius, and “In our century” Leander a S Martino in 1628, et al.

“Alas! No-one cites the first inventor, Alexander de Villadei (of our Order OFM)”, author ca 1240 of some leonine verses, beginning “Sex, prohibet, peccant, Abel, Enoch, et arca fit, intrant.” According to Fr Martín, he was copied word for word by Leander a S Martino, who suppressed Alexander’s name and passed the work off as his own. Our old General Catalogue of Printed Books identifies this rotter: “LEANDER, de Sancto Martino [i.e. John Jones]”.

“Alas how many today wish to becloud the names of their predecessors! I freely admit my debt to others: Render under Caesar, etc.”

He has cleaned up the text of Alexander, bringing it into line with the Tridentine Vulgate of Pope Clement VIII (1592).

This is the second edition, the first having been printed in Mexico in 1675.
This sort of memory verse survives almost into our own day: the more elderly among you might remember the Kings and Queens of England in doggerel:

Willy, Willy, Harry, Ste,
Harry, Dick, John, Harry three,
One, two, three Neds, Richard two,
Henries four, five, six – then who?
Edwards four, five, Dick the bad,
Harries twain and Ned the lad,
Mary, Bessie, James the vain,
Charlie, Charlie, James again …

Fr Martín’s book takes us back to a time when the Bible was a vital concern, and when education was synonymous with a knowledge of Latin.

Barry Taylor, Curator Romance Collections

Further reading

Frances A. Yates, The art of memory (London, 1966) X.529/6232.

Mary J. Carruthers, The book of memory (Cambridge, 1990) YC.1990.b.7100

Juan Velázquez de Acevedo, Fénix de Minerva, o arte de memoria, ed. Fernando Rodríguez de la Flor (Valencia, 2002) YF.2016.a.22418

The British Library’s recent study day devoted to the French Caribbean noted the parallels between the Windrush generation and the stream of migrants to France from its overseas départements such as Martinique and Guadeloupe. Although the emphasis was on immigration in the 20th century, one of the most notable individuals to undertake this voyage did so at a much earlier date to become one of the leading figures in 19th-century French literature.

Portrait of  the young Leconte de Lisle (c. 1840) by Jean-François Millet 
(Image from Wikiart) 

Charles Marie René Leconte de Lisle’s journey took him from Réunion to Rennes. Born on 22 October 1818, he had made a stay in Nantes with his parents before returning home in 1828 to attend the Collège de Saint-Denis. However, with five younger children to educate his parents were anxious to see him established in a solid profession, and despatched him to Dinan in 1837 to lodge with his uncle Louis Leconte and read law at the University of Rennes. Before long, though, he became disenchanted with his arid legal studies and was more often to be found attending lectures in classical literature and history. In addition, he founded two short-lived literary journals, La Variété (1840) and Le Scorpion (1842), both of which collapsed for lack of funds. Not surprisingly, he failed to qualify as a lawyer, and in retaliation his irate parents cut off his allowance and forced him to return to Réunion and earn his bread by carrying out humdrum duties for various businesses. He poured out his resentment and disenchantment with the people of the island in his story Saintive, where the tragic abduction of a planter’s daughter arouses only dull indifference among the apathetic creoles. He was also incensed by the fact that his father used slave labour on his plantation, and when, in 1845, friends from Rennes invited him to collaborate with them on the newspaper La Démocratie pacifique (NEWS14710) he accepted with alacrity and set off for Paris.

The newspaper was based on the ideas of the philosopher Charles Fourier, whose doctrine of Associationism represented an early form of socialism in its vision of fraternal cooperation. In the years preceding the 1848 revolution, Leconte de Lisle enthusiastically embraced these ideals and became secretary to the editor of the paper’s monthly cultural review La Phalange (1600/966). In 1846 he made friends with the classical scholar Louis Ménard and the translator Thalès Bernard, whose influence coloured the poems on Greek themes which he published at this time.

With the outbreak of revolution, he was sent back to Dinan to advocate the republican cause. This, and his open advocacy of the abolition of slavery, met with a chilly reception in the conservative Breton town and did little to improve family relations. Further disillusionment followed with the failure of the revolution and of his attempt to secure a teaching post at the Collège de Saint-Denis.

Frontispiece by Louis Duveau for Leconte de Lisle, Poésies complètes (Paris, 1858) 11474.e.12

During the 1850s, however, his fortunes gradually improved with the publication of his collections Poèmes antiques (Paris 1852; 11482.cc.27) and Poèmes et poésies (Paris, 1855; 011483.cc.20), which won the Académie Française’s Lambert Prize in 1857, enabling him to marry. Translation, too, became a major preoccupation, and in the 1860s he published versions of Theocritus’s Idylls and Homer’s Iliad and Odyssey. His home on the Boulevard des Invalides became a meeting-place for young writers eager to follow new directions in poetry; Louis Napoleon awarded him a generous annual pension from his private funds, and in 1866 Alphonse Lemerre published the first volume of Le Parnasse contemporain, featuring contributions by Baudelaire, Verlaine and Mallarmé. Its second number was devoted entirely to Leconte de Lisle’s work.

Title page of Le Parnasse contemporain for 1876. 11483.i.4

It was this journal which gave its name to the Parnassian school, of which de Lisle would become the head. Its governing principle was a belief in the discipline imposed by form and structure rather than the indulgences of personal lyricism and sensibility. However, de Lisle believed passionately in the power of poetry to restore to the modern world, jaded by industrial and commercial concerns, the vitality and wholeness of ancient Greece, and of the poet to guide mankind towards this.

Drawing on myths and legends from classical antiquity, the Celtic and Scandinavian past and further afield, he plunged himself into other worlds, seeking to become ‘a sort of contemporary of every age’ to bring them to life. His evocations of a snowy battlefield where a dying hero asks a raven to carry his heart back to his beloved in Uppsala (‘Le Coeur de Hialmar’) or an eerie landscape where a bridegroom is ensnared on the eve of his wedding by a swarm of mysterious beings (‘Les Elfes’) are among the best-known pieces in French school anthologies but retain their vividness and power to startle even nowadays. His portrayal of nature is equally vigorous, whether describing the rippling muscles of a savage jaguar, the soaring of an albatross, or the scent of cloves and lychees on a tropical island, drawing on his observations of creatures in the Jardin des Plantes, his memories of Réunion, and his first impressions of the harsh contrast of the coasts and heathlands of Brittany.

After the disappointment of 1848 Leconte de Lisle cast aside the political traits which had been present in his earliest works. Forced to recognize that the mediocre modern era could never regain the unity of art and science found in ancient Greece, he grew increasingly embittered, and in 1894, the year of his death, affirmed that ‘the beautiful is not the servant of the true, because it contains Truth’, and that ‘art is an intellectual luxury accessible only to very rare spirits’. He was also compelled to acknowledge that such an exclusive view of poetry was unlikely to provide him with a living. The pension from the imperial government which he had been criticized for accepting despite his republican views disappeared with the fall of Napoleon III, and he had to accept a post as librarian to the Senate.

Leconte de Lisle’s work also lives on in settings by Fauré, Duparc and many other composers, and in his refusal to allow his poetry to be compromised by the drabness of an era of grubby materialism, he remains a figure for our own times.

Susan Halstead, Subject Librarian (Social Sciences) Research Services.