According to Otto Wang, author of niche publications in defence of the reputation of Danish ex-libris, and writing in 1927, no one had received more praise for their bookplate artistry than Ebba Holm. A painter, engraver and illustrator, Holm became most famous for 108 linocut illustrations to a 1929 edition of Dante’s Divine Comedy, in Christian Knud Frederik Molbech’s translation. Otto Wang sees Holm as belonging ‘to the not too many Danish artists who have really been interested in this special little art [of ex libris] and realized that it is necessary to cultivate it and subject it to a special study’.

In Wang’s survey of Holm’s ex libris art, he suggests the artist has given us two of the greatest Danish bookplates, one being for Harald and Karen Abrahamsen (answers on a postcard) and the other being Ebba Holm’s own. Recently, the library acquired L’Opinion et l’amour, a 1830 French book belonging to Holm herself, so we are lucky enough to be in the possession of this famed ex libris. Sadly we don’t know much about Holm’s personal library, and whether she had chosen the book because it was a historical novel written by a woman, Madame de de Saint–Surin, who had also written about the Middle Ages, or for its pretty binding by Janet, a Parisian bookbinder known for his decorative tastes. In any case, it is exciting to see her choice for this most personal design:

Ebba Holm’s ex libris from Madame de Saint Surin, L’Opinion et l’amour (Paris, 1830), awaiting shelfmark

Holm’s love of medieval imagery, or of all things medieval, is expressed in her own bookplate, which features a knight (or could it be Joan of Arc?) holding a spear from which floats a banner displaying her name.

The library has since also acquired a copy of Johannes Jørgensen’s Dantestemninger (‘Dante moods’), a limited edition from 1928, which features a quartet of poems first published in Jørgensen’s collection Bag alle de blaa Bjærge (1913) here in large format alongside four striking woodcuts by Ebba Holm. Our copy has a small book label designed by the illustrator and stuck on the inside back cover. It bears her initials and is adorned with what looks like a heraldic eagle.

Ebba Holm’s initials underneath an eagle

Jørgensen and Holm were both Italophiles. Jørgensen (1866-1956) lived in Siena from 1914 and wrote the lives of St Francis of Assisi, Catherine of Siena and St Bridget of Sweden after his conversion to Catholicism around 1895.

The Dantestemninger were written at the time he was composing his work on Catherine of Siena and his research into the period allowed Jørgensen to explore an interest in Dante. As Jørgen Breitenstein has written, the poems often explicitly recall Molbech’s translation of Dante, as we see at the end of Jørgensen’s first poem’s reference to Inferno III, 1: ‘og fører ind til Staden, fuld af Jammer’ (‘Per me si va ne la città dolente’ / ‘Through me the way into the suffering city’). That said, Jørgensen portrays a wet, foggy, autumnal forest that has no real parallel to Dante’s Inferno, and Holm depicts a lost forest-bound protagonist in the first woodcut.

Jørgenson’s Inferno in a Northern European sylvan mood

Holm might be said to deviate from Jørgensen’s second poem as she depicts the protagonist’s encounter with Beatrice. Holm’s scene might be based on Dante’s Florence but the city is also simple and industrial, the encounter itself without any of the symbolism of Jørgensen’s (and Dante’s) association of Beatrice with fire and flames.

Dante meets Beatrice

The third poem deals with Dante’s exile from Florence and the fourth with Dante and Beatrice’s ascension in Paradiso.

Dante in exile

Dante in paradise

Holm’s illustrations here are accomplished without being remarkable but they can also be seen as preparatory for the more lavish, impressive and ultimately prize-winning linocuts for the later Divine Comedy edition. Unfortunately, we don’t yet have a copy of this but we’ll be keeping our eyes peeled for a fine edition!

Sophie Defrance, Curator Romance Collections, and Pardaad Chamsaz, Curator Germanic Collections

References

Johannes Jørgensen, Dantestemninger (Copenhagen, 1928) LF.31.b.13902

Otto Wang, Ebba Holms Exlibris (Kolding, 1927), 2708.g.23

Everybody needs a patron, nobody more than the medieval or early modern author.

Erasmus dedicated one work to four successive patrons (Carlson 85; also 45). The assumption was that the patron would respond with a payment, sometimes delivered on the spot (Carlson 85). Hence the delicious title of Richard Firth Green’s Poets and Princepleasers: literature and the English court in the late Middle Ages.

Title-page of Juan de Mena, Las ccc (Seville, 1499) G.11274

Here we see the poet Juan de Mena doffing his cap to King John II. (Of course, the woodcut obviously comes from some other work, but such reuse was commonplace.)

Another popular scene shows the patron, the author and the book. It’s probably the norm for an author to be shown presenting his work to his patron.

Harley MS 4431 (c. 1410-c.1414), f. 3r, for example, shows Christine de Pizan presenting her manuscript to Queen Isabeau of Bavaria:

But in other cases the patron is pretty unambiguously doing the presenting.

Here Henry VIII is handing out his Great Bible (London, 1540; C.18.d.10) to the clergy and directly to the people.

Henry‘s iconography is probably the older, as it has been traced back to images of Justinian handing down the law.

Here we have Fray Antonio de Montesino kneeling before Ferdinand and Isabella, the Catholic Monarchs. The book is his Spanish translation of pseudo-Ludolph of Saxony’s Vita Christi (Alcalá de Henares, 1502-03; C.63.i.1.). 

Lyell (385, n. 150) thinks the presenter is the patron Francisco Ximénez de Cisneros, the recipients the patron’s patrons the King and Queen, and that the humble translator, Montesino, is literally sidelined.

The tug-of-love between King and Cardinal makes it hard to see who is giving and who is receiving.

So just remember that this festive season.

Barry Taylor, Curator Romance Collections

References

David R. Carlson, English Humanist Books (Toronto, 1993) YA.1995.b.12352

Richard Firth Green, Poets and Princepleasers: literature and the English court in the late Middle Ages (Toronto, 1980). 80/17195

James P. R. Lyell, La ilustración del libro antiguo en España (Madrid, 1997). YF.2009.a.21979. (First published in English as Early book illustration in Spain (London, 1926) 11907.g.58.)

Last month readers throughout the world were celebrating the 200th anniversary of the birth of Mary Ann Evans – or, as she would later become known, George Eliot. Before her bicentenary year passes, it may be fitting, in view of her cosmopolitan interests and fondness for travel, to see how her works have fared abroad.

George Eliot in 1865, engraving after the portrait by Sir Frederic William Burton, from The complete poetical works of George Eliot  (New York, 1888) 11612.h.1

Not surprisingly, given Eliot’s lifelong interest in German literature and philosophy, it was not long before her writings were translated into German. Patricia Duncker’s novel Sophie and the Sibyl (London, 2015; Nov.2016/1979) offers a lively account of Eliot’s relations with the firm of Duncker & Humblot (founded by Franz Duncker, an ancestor of the author) which published the German versions of her novels. The first of these to appear was Die Mühle am Floss, translated by Julius Frese (Berlin, 1861; 12633.cc.4), followed by Emil Lehmann’s four-volume translation of Middlemarch (Berlin, 1872-73; 12637.aa.6.). German readers had to wait until after Eliot’s death for Scenes of Clerical Life to come out in their language as Bilder aus dem kirchlichen Leben Englands in a translation by G. Kuhr (Leipzig, 1885; 12604.h.10).

An edition of Silas Marner with notes in French (Paris, 1887) 12604.cc.10.

With the exceptions of Romola, Daniel Deronda and the novellas Brother Jacob and The Lifted Veil (the last partly set in Prague, a city which Eliot visited in 1858 and described, somewhat confusingly, as ‘the most splendid city in Germany’), Eliot’s work largely draws on the landscape and society of Warwickshire, the county of her birth. For French readers who wished to become acquainted with her writings in the original English, Hachette brought out, in 1887, an edition of Silas Marner with notes in French and an introduction, also in French, by A. Malfroy which rather disparagingly describes the author’s native landscape as having about it ‘rien de pittoresque ni de grandiose’. Those not deterred by this unenthusiastic appraisal but mystified by the dialect spoken by the people of Raveloe might turn to translations such as those of Scènes de la vie du clergé, made by A. F. d’Albert-Durade, also for Hachette (Paris, 1886; 012547.e.77), in which Janet’s Repentance is transformed into La conversion de Jeanne. The same translator produced a version of Romola the following year (Paris, 1887; 12603.ff.11), but it was not until 1890 that a translator identified only as ‘M.-J. M.’ ventured to tackle the monumental Middlemarch. Étude de la vie de province (Paris, 1890; 12603.f.16).

Title page of a Yiddish edition of Daniel Deronda (Warsaw, 1914) 012612.i.2.

At first sight it might appear that the limited geographical compass of such novels might discourage translators from opening them up to a wider audience, but this is far from being the case. The British Library’s holdings include translations of Eliot’s works into Japanese, Telugu, Estonian, Oriya and Irish, as well as more widely-spoken languages. It is interesting to consider the reasons for a translator to give preference to one particular title and select it as likely to appeal to potential readers within a different culture. A notable example of this is Daniel Deronda, which appeared in translations into Hebrew by David Frishmann (Warsaw, 1893; (B)615.7045) and Yiddish. This is not surprising, despite the unpopularity of the novel’s Jewish plot among Gentile readers, as Eliot’s partner G. H. Lewes writes in a letter of 24 December 1876 to the palaeontologist Richard Owen:

[T]he Jews themselves – from Germany, France, and America, as well as England – have been deeply moved, and have touchingly expressed their gratitude. Learned Rabbis, who alone can appreciate its learning, are most enthusiastic. Is it not psychologically a fact of singular interest that she was never in her life in a Jewish family, at least never in one where Judaism was still a living faith and Jewish customs kept up? Yet the Jews all fancy she must have been brought up among them; and in America it is positively asserted that I am of Jewish origin!

Cover of The Mill on the Floss in Fernando de Macedo’s translation, O moinho à beira do Floss (Lisbon, 1943) 012643.ppp.17

In this, perhaps, lies the key to Eliot’s world-wide popularity among translators. Her empathy with characters from many walks of life and ability to portray them with humanity and vividness enables her to transcend boundaries of language and geography. Moreover, the apparently humdrum nature of the landscapes of some of her novels became quite different when viewed from a different perspective. The Portuguese artist’s impression of the world of The Mill on the Floss in Fernando de Macedo’s translation is just one example of the inspiration which these distant and paradoxically ‘exotic’ scenes provided for illustrators. Similarly, a Dutch translation of Adam Bede by Anna Dorothee Busken Huet contains three plates by Jozef Israëls portraying the figures of Adam, Dinah and Hetty with deep psychological insight.

Plate from Dutch translation of Adam Bede (Sneek, [1891]) 11409.m.39, showing the eponymous hero

The fact that George Eliot’s writings so quickly found translators testifies to their universal appeal and relevance of the issues which they raise. Whether they are given a voice in Swedish, Hungarian, Czech or Greek, Adam Bede, Silas Marner and Dorothea Brooke are truly citizens of the world and witnesses to the greatness of their creator.

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

Despite what title of this book might suggest, there is no need for Latinists or philologists: the Codex Seraphinianus is not a medieval manuscript, nor a translation from Latin, it is not written in an undiscovered or secret language either. All the scholarly efforts to decipher the text were dismissed by the author himself who revealed that the writing is asemic, therefore no hidden message to discover. And I guess this is the beauty of his work (the beauty of art in general): the trick can be exposed but the mystery remains, the mystery of creativity.

Pages of text from Codex Seraphinianus (New York, 1983) f84/0685

We look at “…those minute, agile and (we have to admit) very clear italics of his”, as Italo Calvino finely put it, and “we always feel we are just an inch away from being able to read”.

The art book by the Italian artist, designer and architect Luigi Serafini – an imaginary encyclopedia of an imaginary world – was first published in a two-volume edition in Italy in 1981, followed by a single-volume edition in 1983 published in New York, which is the edition held by the British Library. The limited editions and the value attributed to them make the Codex a rare item, sought-after by collectors. Paul Fisher Davies in his article gives an overview of the studies on the text: as he rightly points out, there is a narrative in the sequence of the images and in the way the text connects to them. Even though, the readability of narrative Davies refers to is still imaginary in that the text itself remains undeciphered, the connection between text and images has a powerful impact. Serafini says it himself in an interview: “There is no a written message or something to decode. There are other aspects. There are beauty, the relationship between the images and writing.” (You can see video of Serafini being interviewed here: https://www.the-mag.org/codex-seraphinianus-il-favoloso-mondo-immaginario-di-luigi-serafini/).

Certainly the book does not lack of the systematic division we expect from a science book, and this is marked by what can be assumed is the title, followed by an introduction and table of contents, before the beginning of each of the 11 “chapters” of the 1983 edition, as the photo above shows. However, even the illusory systematicity of the first chapter, which can be safely interpreted as dedicated to “botany” from beginning to end, does not seem to be applied in the second chapter. This begins with an illustrative catalogue of individual light particles, each with different shapes and names, and in the image below it the same light particles are shown as a swarm flying out from the head of a street lamp. This and the bigger catalogue of individual rainbow particles which comes after, tell us that the second chapter is dedicated to “light”.

Rainbow particles from Chapter 2 of Codex Seraphinianus

But the chapter changes pattern and shows images impossible to interpret, even though, the text below them gives us a sense of reconciliation, an explanation which cannot, does not need to be put in words. And it makes me wonder: can attempting to read asemic writing echo back as a liberating asemic thinking? As Calvino observes “Serafini’s writing has the power to evoke a world where the syntax of things has been distorted, it must contain, hidden beneath, the mystery of its indecipherable surface, a deeper mystery still regarding the internal logic of language and thought.”.

The second chapter continues with images of fishes, snakes, birds, dogs, deer, horses, and ends with this:

The third chapter does not even try to make us believe it’s focusing on anything in particular, yet it does not stop overwhelming us with surreal shapes and wonderful colours. And again in the following chapters, until chapter 7: this opens with a catalogue showing the profile view of human heads, which, after so many surreal images, we find ourselves absorbing with the same puzzlement.

The beautifully meaningless journey continues and ends with a page tightly and tiredly written (with a couple of words crossed out, and a couple of others inserted in between, in different parts of the text) and partly lifted as if it accidentally detached itself and, pulling up like a curtain, shows what was not meant to be shown: the broken bones of a hand laying on the floor of a tiny grim room.

In the end what Serafini asks us to do is nothing but immerse ourselves in his magical, often disconcerting world. I find interesting that Serafini decided to give his art book – a book which celebrates freedom from the rules of interpretation and meaning – a title in Latin, which seems to impose a certain historicity based on those rules. I like to think that he does this to make us feel a contraction of time which propels us to a world where, dare I say, Ovid’s Metamorphoses and Pliny’s Historia Naturalis meet. As Serafini says in the same interview mentioned earlier, his work could be open to artists of the future, “ … every 5/6 years I could add a chapter and even in the future, I would imagine it as an open work which can be continued by other artist maybe for two or three centuries…”.

Fantastical machines from Codex Seraphinianus

Giuseppe Alizzi, Acquisitions Support Manager

References/Further reading

Paul Fisher Davies, ‘On the comics-nature of the Codex Seraphinianus’, Studies in comics, Vol. 6:Issue 1 (2015) ZK.9.a.12040

Italo Calvino, ‘The encyclopedia of a visionary’, in Collection of Sand. Translated by Martin L. McLaughlin (London, 2013). ELD.DS.180656

Lora Afric, Languages Cataloguing Manager, reflects on some highlights from a year of fashion collaboration at the Library

The British Library has, for the third year running, worked with the British Fashion Council on the Research Collaboration Project. This year Glaswegian radical designer, Charles Jeffrey, joined forces. To mark the start of this collaboration, a catwalk show of Jeffrey’s brand Loverboy SS20 collection ‘Mind’s instructions’ was staged at the Library earlier in the year, followed in October by a Masterclass organised for BA final year and MA students, and a launch of the Research Competition. Charles Jeffrey, considers knowledge to be a ‘form of armor’. His brief instructs students to compile a research-focused fashion portfolio inspired by the BL resources. The show and tell, being the interactive part of the Masterclass, gave curators opportunity to engage with students and inspire them with samples of the visually intriguing collection items.

‘Mind’s instructions’ Loverboy SS20 collection – The British Library, May 2019, reproduced with permission

In this blog post the European and Americas team have selected some of the most popular items shown on the day. It is not surprising that items featuring colours, patterns and poetry appealed to fashion students the most. The designs will reveal whether ‘Perhaps peace can still be found in the beautiful and the unexplained?’, as Jeffrey Charles states in his brief.

 

Ferdinando Ongania, Dettagli del Pavimento ed Ornamenti in Mosaico della Basilica di San Marco in Venezia, Venice, 1881 (74/tab.1283)

Ferdinando Ongania and his Venetian workshop spent more than 10 years (between 1881 and 1893) publishing the 18 volumes of La Basilica di San Marco in Venezia. Inspired by John Ruskin’s work, Ongania commissioned studies to historians, architects, and archaeologists, and put together an exceptional body of photographs and illustrations. His work depicts every single detail of the exterior and interior of Saint Mark’s Basilica, from the architecture to the sculptures and the decorations. The British Library owns the full set, but the volume I chose for the show and tell focuses solely on the mosaic floors, whose drawings I find particularly inspiring for the kaleidoscopic richness of the details and beauty of the colours.

Valentina Mirabella – Curator, Romance Collections

G. Darcy, Or et Couleurs, Paris, A. Calavas, [n.d.] Probably 1920/1921? (fF5/3743)

The designs in the albums contain a variety of geometric motifs, flowers, plants and birds typical of the Art Deco style. Art Deco fashion, which started in France in the 1920s, and took its name from the Exposition Internationale des Arts Décoratifs, was inspired by new artistic movements, most notably Cubism and Fauvism, by the bright colours of the Ballets Russes, and by the “exotic” styles of Japan, Persia, ancient Egypt and Maya art, among others.

The technique of “Pochoirs”, or stencils, used here, was at the height of popularity in France during the 1920s. It was frequently used to create prints of intense colour and the brilliant effects of gold and silver, as expressed in the title of these collections of plates. The full title explains further that the plates were made in the “new taste” for use by “Fabric makers, Decorators, and ornaments designers” – it was for sale at the bookshop of the Arts Décoratifs.

A particularly interesting feature of this item is that it comes from Nottingham Public Library, which acquired it very soon after its publication. It was quite successful, and was borrowed 25 times between 1922 and 1930.

I chose this item because of my interest in the Art Deco movement and the pochoir technique. The plates are very beautiful of course, and the colours are still incredibly vivid, but most of all I think it is fascinating to have a real proof of interest from readers (presumably amateur decorators and fashion lovers) in the 1920s.

Sophie Defrance – Curator, Romance Collections

The Fashion Research Competition and the staff favourite winners will be announced on 31 January 2020 when during the reverse show and tell students will reveal their work inspired by the British Library collections.

For featured American collection items please see the parallel American Collections blog.

Of the many groundbreaking sculptures Umberto Boccioni created between c. 1913 and 1915, only a handful remain in existence today – most of them were accidentally disposed of on a rubbish dump in 1927. However, using a combination of vintage photographic material taken from books, and cutting-edge 3D printing and milling techniques, four of Boccioni’s destroyed works have now been reconstructed by two digital artists: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. Modern audiences can now ‘see’ these lost masterpieces for the very first time at the Estorick Collection of Modern Italian Art in London.

Umberto Boccioni, Unique Forms of Continuity in Space, 1913. (Reproduced by kind permission of the Estorick Collection)

Boccioni’s best known surviving three-dimensional work is undoubtedly Unique Forms of Continuity in Space (1913). One of the most instantly recognisable of all modernist sculptures, it represents an aerodynamic figure – part man, part machine – racing energetically towards the brave new world envisioned by the Futurist movement, a world ‘multiplied’ by technology, speed and industrialisation.

Portrait of Boccioni, from Roberto Longhi’s Scultura Futurista Boccioni (7875.dd.31.): 

This work was in fact preceded by three sculptures on the same theme: Synthesis of Human Dynamism, Speeding Muscles and Spiral Expansion of Muscles in Movement. Until today, all that remained of these earlier works were a number of photographs taken in Boccioni’s studio and at three exhibitions around the world between 1913 and 1917. More clearly than ever before, the reconstructed sculptures reveal the evolution of Unique Forms of Continuity in Space, enabling us to perceive the progressive refinement of Boccioni’s ideas and the streamlining of his sculptural forms.

Images showing Umberto Boccioni with Synthesis of Human Dynamism, from Laura Mattioli Rossi, Boccioni’s Materia: A Futurist Masterpiece, The Avant-garde in Milan and Paris, New York, 2004 (LD.31.b.256).

Why attempt to recreate long-lost works of art? Surely, only their creator could know how they looked. Projects such as this depend on the quality and quantity of the surviving visual documentation. In the case of Boccioni’s sculptures, sufficient photographic material existed to make reconstruction feasible and worth pursuing. Roberto Longhi’s detailed 1914 essay Scultura Futurista Boccioni concerning Boccioni’s works also provided many important clues as to their appearance. It is crucial to note that the reconstruction process was not undertaken as a mere technical challenge; rather, it is hoped that the resulting pieces will offer new interpretative opportunities for both specialist art historians and the general public, providing fresh insights into Boccioni’s sculptural practice. In this particular instance, the project also represents a fusion of art and technology that would have doubtless appealed to the Futurists.

Images showing the reconstruction process of Synthesis of Human Dynamism 

The reconstruction process went as follows:

1. High resolution photographs of Boccioni’s sculptures were scanned from books or acquired from different museums, publishers and institutions. In total, 21 photographs were used for the four reconstructions. Two books were primarily used:

Laura Mattioli Rossi, Boccioni Pittore scultore futurista (Milan, 2006; awaiting shelfmark) and Laura Mattioli Rossi, Boccioni’s Materia: A Futurist Masterpiece, The Avant-garde in Milan and Paris.

2. Using image software, the contrast of the images was adjusted, and areas in shadow were lightened in order to bring out as much detail as possible.

3. Each of the sculptures was extracted from its surrounding space, effectively producing ‘cut-outs’ from different angles.

4. Using 3D sculpting software, these cut-outs were imported, then set as reference views.

5. The starting point of the 3D model was a ‘blob’ of digital clay which was moulded to fit the contours of the sculpture in all of the reference views. This semi-transparent form made it possible to trace the shapes of the underlying image, just as transparent paper can be used to copy a picture placed below it. The digital moulding tools mimic their real world counterparts and allow easy shaping of the ‘clay’.

6. By taking into account overlapping and receding forms, the time-consuming sculpting process eventually produced a form that was very close to how the actual sculpture must have looked. The mesh resolution was increased when all of the basic shapes were in place, and further enhanced with the addition of increasingly smaller details.

7. Light sources were adjusted in the rendering software to simulate the shadows cast in the original photographs as closely as possible. This helped to establish the size of the protruding and receding shapes, and the work’s overall proportions.

8. The finished 3D model was printed or milled.

The reconstructed statues shown at the Estorick Collection. (Reproduced by kind permission of the Estorick Collection)

The reconstructions can be seen at the Estorick Collection until 22 December, and you can see a video detailing the reconstruction process below:

Anders Rådén and Matt Smith, digital artists responsible for recreating four of Boccioni’s destroyed works

References/Further reading:

Umberto Boccioni, Pittura scultura futuriste: dinamismo plastico (Milan, 1914) 7859.de.1. (English translation by Richard Shane Agin and Maria Elena Versari, Futurist painting sculpture: plastic dynamism (Los Angeles, [2016]) YC.2017.b.2375)

Maurizio Calvesi, Alberto Dambruoso, Umberto Boccioni: catalogo generale delle opere; con la collaborazione di Sara De Chiara (Turin, 2016) LF.31.b.14033

John Golding, Boccioni: Unique forms of continuity in space (London, 1985) YV.1986.b.1014

This is the first of a series of blogs dedicated to Italian typography.

It is not an easy task to write something brief about the Italian typographer Giambattista Bodoni. Bodoni the polyglot, Bodoni the artist, Bodoni who achieved rock-star fame during his lifetime. He made the Italian town of Parma world capital of printing from the second half of the 18th century, an obliged stop for intellectuals and bibliophiles during the Grand Tour. Rulers and princes would visit his workshop and he would dedicate books to them, in order to consolidate his prestige.

Illustration from Giuseppe Saverio Poli / Stefano Delle Chiaie, Testacea Utriusque Siciliæ Eorumque Historia Et Anatome Tabulis ... Illustrata, (Parma 1791). 458.g.11-13.

Trained in typography and ‘oriental’ languages in Rome, having unsuccessfully tried to come to London to learn new skills and perfect his technique, in 1768 Bodoni was called to Parma by Ferdinand of Bourbon, with the purpose of establishing and managing the government Royal Printing Office that he would be in charge of for the rest of his life.

Robert Hampden, Britannia; Lathmon, Villa Bromhamensis (Parma, 1792). G.10064.

Despite never leaving Parma, Bodoni managed to be known internationally, by choosing his patrons (Napoleon and his family, the monarchs of Spain, Italian rulers), by printing in many languages and scripts, and by setting his much-imitated typographic style. In his own words, he ‘shook the old typographic conventions’, introducing harmony and proportion in the frontispieces, showing neo-classicist taste in his bare, epigraphic compositions. The sense of perspective and the balance between space and font offer optimal readability to his pages. The series of crisp and neat ‘bodonian’ typefaces that he designed in the late 1780s are still very popular today, appreciated for the clear contrast between the thickness of strokes and the thinness of rules and serifs.

Horace Walpole. The Castle of Otranto, a Gothic Story. Sixth edition (Parma, 1791). 682.f.22

A lot was printed in his Greek typefaces, and many of his books were in foreign languages, including English. The most celebrated of his works in English were Walpole’s 1791 edition of The Castle of Otranto, on behalf of the London bookseller Edwards, and the 1792 Britannia by Lord Hampden. Of Britannia, the British Library owns the only copy printed on vellum (G.10064.), from the splendid library of Marshal Junot, sold by auction in London in June 1816 and purchased by Thomas Grenville for his rich collection of rare books, which are now part of the British Library.

Robert Hampden, Britannia; Lathmon, Villa Bromhamensis.

Constantly in competition with his fellow typographers (notably with the Didot brothers in France, known for the rigour of their editions), Bodoni liked to re-edit books published by others, trying to make them better. A case in point is the Oratio Dominica (a polyglot edition of the Lord’s Prayer), which Bodoni was invited to produce by Pope Pius VI when he stopped to see him in Parma. The Pope said that, during his recent visit to Paris for the coronation of Napoleon, in December 1804, he was gifted with a copy of the Oratio Dominica in 150 languages, by Jean-Joseph Marcel, director of the Imprimerie Nationale, and he challenged Bodoni to produce something finer and in more languages, to prove his skills.

In less than a year, Bodoni put together an acclaimed Oratio Dominica, in 155 languages, using 215 typescripts (including Phoenician, Tibetan, and Etruscan), some of which were missing from the French edition.

Oratio Dominica in CLV. Linguas Versa Et Exoticis Characteribus Plerumque Expressa (Parma, 1806). Cup.652.m.4.

However, Bodoni’s masterpiece was certainly printed after his death, in 1813. Having produced his own types since 1771, in 1788 he published the first manual Manuale tipografico containing a hundred Roman type alphabets, 50 italics and 28 Greek alphabets. His alphabets were improved during the course of his career, and this project was accomplished by his widow, Margherita Dall’Aglio, with the posthumous publication of the final Manuale Tipografico in 1818.

The fruit of more than 40 years of work, this manual in two volumes was composed of 265 pages with roman types, capital letters, Greek and oriental types, borders, ornaments, numbers, and musical examples.

Bodoni’s Manuale Tipografico established high standards for typography. It offers an overview of the uniformity of design, neatness and good taste that made him famous and inspired generations of typographers up to the present day. But, this is a topic for my next blog…

Valentina Mirabella, Curator Romance Collections

Further Reading

Of the over 1400 ‘Edizioni Bodoniane’ (listed by H C Brook’s Compendiosa Bibliografia delle Edizioni Bodoniane) printed while Bodoni’s presses were active, in 1834, the BL collections has over 200, of which 38 are available digitally 

Giovanni Battista Bodoni, Manuale Tipografico, 1788. Facsimile a cura di Giovanni Mardersteig. (Verona, 1968). L.R.413.h.17.

Franco Maria Ricci, Bodoni, 1740-1813 (Parma, 2013) LF.31.b.11849

Andrea De Pasquale / Massimo Dradi, B Come Bodoni: i Caratteri di Bodoni a Brera e nella Grafica Contemporanea (Milan, 2013). YF.2014.a.22184

Hugh Cecil Brooks, Compendiosa Bibliografia di Edizioni Bodoniane (Floerence, 1927) 2704.bp.2.

The attempt to reanimate poetry requires great courage, especially considering the Italian literary landscape of the last 30-40 years, a time during which poetry’s trend transitioned from “a sea of subjectivity” in the 1970’s (as Maria Borio puts it in his 2018 study Poetiche e individui: la poesia italiana dal 1970 al 2000) to the never-ending postmodern turning towards itself.

Poetry needed Franco Arminio’s kiss of life.

This meant somehow going back to the glorious times of 20th-century poetry (Ungaretti, Quasimodo, Pasolini), taking the risk of sounding rhetorical, or even banal. Arminio is not afraid of taking that risk: his poems have recently reached a wide audience through his books and through social media.

Born and living in Bisaccia, a small town in the region of Campania, which borders with Basilicata and Puglia, where he works as a primary school teacher, Franco Arminio coined the word ‘Paesologia’, from ‘paese’ (meaning: countryside town or village) and calls himself ‘paesologo’. His tours and talks are recorded and scheduled in La Casa della Paesologia.

Franco Arminio with a slogan reading ‘do yourself a favour – read poetry’ (Reproduced by kind permission of Franco Arminio)

In his ‘Introduction to Paesology’ Arminio explains, “The paesologist isn’t a local erudite who knows the name of all the petty lords who have dominated a paese or who knows all the proverbs. It’s someone who studies the inner-working of the peculiar organisms that paesi are. The work of the paesologist takes place in situ. There are very few books about paesi, because most writers live in cities, and those who live in the paesi continue to think that life remains in cities.” (translation by Patrick Barron)

The poetry in Arminio’s writing, be it in prose or in verse, embeds his paesology and serves to frame with a certain sacredness even the lowliest moments that living in a remote village sometimes involves:

Wander around where nobody goes, be the tourists of mercy, be the travellers who not only seek beauty, harmony, sunshine, but also the loneliest and most disconsolate places – places waiting for someone to look at them, to recognize them before they become bereft of their history as well as their geography. (Franco Arminio, ‘On Places and Looking’. Translation by Serenella Iovino)

Cover of Franco Arminio, Cartoline dai morti 2007-2017 (Milan, 2017) Awaiting shelfmark

The “inner-working of the peculiar organisms that paesi are” is expressed through his prose (Nevica e ho le prove, 2009; Cartoline dai morti, 2010) and poems (Cedi la strada agli alberi, 2017; Resteranno i canti (2018). Arminio’s work takes the reader through a journey inside the life of people living (and dying) in the small villages of southern Italy with their daily struggles, loneliness, hypochondria. Cartoline dai morti (‘Postcards from the dead’), as the title suggests, are cards written by dead people, and even though it recalls the model of Spoon River Anthology, the protagonists of the epitaphs are remote, rural people with no historical reference.

Nessuno mi aveva spiegato niente.
Ho dovuto fare tutto da solo: rimanere fermo e muto,
raffreddarmi, iniziare a decompormi.

Nobody explained anything to me.
I had to manage all by myself: staying still and silent,
getting cold, beginning to decompose (My translation)

Arminio strips his texts of any kind of trend, the trend which, by definition, is subject to, and demands a superseding: light, short, calming even when intense, distilled and powerful.

Mi sono sempre sentito affannato e fuori posto nella vita.
Adesso finalmente riposo tranquillo e in pace nella tomba vicino alla mia.

I have always felt filled with anxiety and out of place in life.
I can finally rest now in tranquillity and peace in the grave next to mine. (My translation)

Cover of Franco Arminio, Resteranno i canti (Florence, 2018) YF.2019.a.10782

In Resteranno i canti Arminio’s paesology touches upon the issue of emigration from the south and the sense of loss for those who remain.

Nessuno pensa più alla vita di tutti,                                            
figuriamoci a quella dei luoghi.                                                    
Se esco stasera                                                                                 
trovo ragazzi che non conosco                                                      
in un bar che una volta                                                                   
era un consorzio agrario.                                                               
Di fronte a casa mia c’era Enza                                                    
e nella curva il pasticciere                                                             
e zio Giovanni,                                                                                 
in fondo eravamo pochi anche allora                                          
ma sembravamo tanti

Nobody thinks about the life of everybody any longer,
let alone that of places.
If I go out this evening
I find boys I don’t know
in a bar which once
was an agricultural consortium.
In front of my house there was Enza
and in the curve the baker
and uncle Giovanni,
we were few even back then after all 
but it felt like we were many (My translation)                                                                     

Franco Arminio (centre) reading aloud to a group on a guided ‘paesological walk’. (Reproduced by kind permission of Franco Arminio)

Giuseppe Alizzi, Acquisitions South Support Manager

References/ Further reading

Maria Borio, Poetiche e individui: La poesia italian dal 1970 al 2000 (Venice, 2018) YF.2018.A.15763

Franco Arminio, ‘Introduction to Paesology’, in Gianni Celati, Towards the river’s mouth, introduction by Patrick Barron; edited and translated by Patrick Barron. (Lanham, 2019) ELD.DS.360506

Franco Arminio, ‘On Places and Looking: Italy’s Silent Epiphanies’ (Translated by Serenella Iovino) in Italy and Environmental Humanities: Landscapes, Natures, Ecologies. (London, 2018) YC. 2018.a.16407

Franco Arminio, Nevica e ho le prove: cronache dal paese della cicuta (Rome, 2009) YF.2010.a.19442.

Franco Arminio, Circo dell’ipocondria (Florence, 2006) Awaiting shelfmark

 

As we celebrate World Ballet Day in the year which sees the centenary of the birth of Margot Fonteyn, arguably the greatest ballerina that a British company has ever produced, it is instructive to consider how much farther back the tradition of ballet as we know it extends. In the very first line of a pamphlet entitled Problema russkogo baleta (‘The Problem of Russian Ballet’), A. L. Volynskii claims that ‘Modern classical ballet was born in Russia, and grew up there’ – a statement which, had he read it, would no doubt have left Jean-Georges Noverre speechless.

Cover of Problema russkogo baleta (Petrograd, 1923) YA.1997.a.20295

Noverre was born in Paris on 29 April 1727, and was expected to follow a military career like his Swiss father. Instead, though, the young Jean-Georges chose a vocation requiring equally rigorous discipline, studying dance with a M. Marcel and then with the famous Louis Dupré and making his debut at the Opéra-Comique in Paris on 8 June 1743. This led to further engagements abroad; while still in his teens, Noverre performed at Fontainebleau, and in Berlin before Frederick II, at whose court he met Voltaire. The king’s excessive thrift, however, led his maître de ballet, Lany, and several of his colleagues to break their contracts and desert the Prussian court in 1747. Noverre became ballet master in Strasbourg and created his first great success, Les Fêtes chinoises, there. He went on to Vienna, where he worked under Empress Maria Theresa and became maître de danse to her 12-year-old daughter, the future Marie Antoinette, who later became his patron.

Portrait of Noverre from Deryck Lynham, The Chevalier Noverre: father of modern ballet (London, 1950) 7920.e.34

In 1755, he went to London with his family and his company to work with David Garrick at the Drury Lane Theatre. He had access to Garrick’s library, enabling him to study classical literature and draw on it for subjects for his ballets while developing his own methods of teaching dance and choreographing for the stage. It was here, in 1756, that he began to formulate his ideas in a treatise published four years later in Lyons.

When the London production of Les Fêtes chinoises was destroyed by rioters on the eve of the Seven Years' War, Noverre and his family were forced to go into hiding. Although he continued to oversee productions at Drury Lane, he was not credited on the playbills. When Marie-Antoinette became Queen of France in 1774, she recalled her former dancing-master, and appointed Noverre to the Paris Opéra. However, in 1779 Noverre was displaced from his position because rival ballet masters and dancers Jean Dauberval, Maximilien Gardel and Mlle Guimard campaigned against him, although he did not finally leave the Opéra until 1781.

Noverre’s innovatory ideas are preserved in his Lettres sur la danse, et sur les ballets, of which the British Library holds a copy of the first edition (1760); it was translated into English in 1782. He was strongly opposed to the flamboyant virtuoso style of Italian choreographers such as Gasparo Angiolini, his successor in Vienna. Maria Theresa herself declared in 1774 that Angiolini was ‘producing abominable ballets’ there, and said of Noverre that, although he was ‘unbearable, especially when he has had a little wine which frequently happens to him, […] I find him unique in his art and his ability to get something out of the most indifferent material’.

Title page of Lettres sur la danse, et sur les ballets (Lyons, 1760) 785.b.54.

The type of material which Noverre brought to life is evident from another volume in the British Library’s collections, Recueil des programmes de ballets de M. Noverre. This contains details of ballets such as his first great dramatic piece, Der gerächte Agamemnon / Agamemnon vengé, first performed in Vienna in 1772. In a preface, Noverre anticipates criticism for taking liberties in his presentation of great classical myths, but defends his decision to bend the rules in accordance with contemporary taste, maintaining that ‘a ballet is not a drama, and that it is impossible for a production of this kind to be subordinated to the strict rules of Aristotle’. The action conflates the entire Oresteia of Aeschylus, culminating in a scene where Orestes is ‘terrified by the Furies, tormented by Crime, Remorse and Despair personified, and finally rent by the bloodstained spectre of his mother’ (providing, no doubt, not only a terrific spectacle but all kinds of opportunities for vengeance by any performers with a personal grudge against the dancer portraying Orestes).

Title page of Recueil des programmes de ballets de M. Noverre (Vienna, 1776) 11739.a.7

Besides Garrick, the great influences on Noverre’s work were the composer Jean-Philippe Rameau, whose opera-ballets he greatly admired, and the dancer Marie Sallé, notable for her acting abilities and imaginative use of mime, who collaborated with Handel during her London seasons. Sallé also shared Noverre’s belief in the potential of ballet for dramatic expression and narrative rather than mere displays of impressive footwork. Cooperating with Noverre allowed Sallé to introduce many of her own ideas, including costumes which departed from the rigid ceremonial quality of earlier productions and allowed the dancers greater freedom of movement. For Noverre, as later for Wagner, ballets within operas could not be merely inserted to provide a pretext for glittering display, but should be closely integrated into the action: ‘the dancers … would have to abandon their posturing and take unto themselves a soul’.

Noverre’s own life was almost as eventful as the plot of any of his ballets. In June 1776 he returned from Vienna to Paris, retaining his post there until the French Revolution reduced him to poverty. He died on 19 October 1810 at Saint-Germain-en-Laye, at the beginning of a century which would see his concept of the ballet d’action established as the basis of classical ballet performance throughout Europe.

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

Banned Books Week (22–28 Sept 2019) is an annual event celebrating the freedom to read. It was launched in 1982 in response to the number of challenges to books in schools, bookshops and libraries. The theme for 2019 urges readers to ‘keep the light on’ to ensure censorship doesn’t leave us in the dark. 

The lists known as Index Librorum Prohibitorum, first issued in 1559 by the Roman Congregation for the Doctrine of the Faith, are regarded as the earliest systematically kept records of prohibited literature. They were compiled after the Council of Trent, with the intent to ‘Counter-Reform’ the Catholic Church and to ban ‘immoral’ ideas coming from the Reformation.

The books listed were banned from being: published, sold, purchased, kept, translated, circulated, and read. The offenders were worthy of excommunication by the Catholic Church.

Title-page of: Index Librorum Prohibitorum, (Salamanca,1564). 1365.d.1.

Published for four centuries, the Index included endless works of Theology, as well as Philosophy (Francis Bacon, René Descartes, Immanuel Kant, Thomas Hobbes, Baruch Spinoza, Voltaire, and many more), Science (Nicolaus Copernicus, Galileo Galilei, Iohannes Kepler, Jérôme Lefrançois de Lalande, Gerardus Mercator, amongst many), Literature (Giovanni Boccaccio, Honoré de Balzac, Alexandre Dumas father and son, Victor Hugo, Giacomo Leopardi, John Milton, Georges Sand, Stendhal), but also History, Law, Medicine.

The last of the 20 lists was published in 1948, with some additions made in 1961: this issue bans the opera omnia of some notable authors of the 20th century: Gabriele D’Annunzio, André Gide, Maurice Maeterlinck, Alberto Moravia, and Jean-Paul Sartre, as well as single works by Simone de Beauvoir, Nikos Kazantakis, and Curzio Malaparte.

1961 additions to the 1948 issue of the Index Librorum Prohibitorum, HLR098.11

Quite interestingly, it is worth noting what was not banned. The increasingly political role of the Roman Congregation for the Doctrine of the Faith left Adolf Hitler and Karl Marx out of the Index, but banned works by the fascist ideologues such as Giovanni Gentile and Alfred Rosenberg.

The Index was suppressed with a papal document after the end of the Second Vatican Council, in December 1965. However, the wider public overlooked the news at the time. Ironically, a prominent Cardinal, Alfredo Ottaviani, had to give an interview to the popular Italian illustrated magazine Gente, to publicise this decision.

A typical issue of Gente from the period (no. 15, 13 April 1966) 

He explained that the Index no longer had juridical value, that the list was not going to be updated, and that it was going to be considered only a historical document.

The Index died because the role of the book had profoundly changed since its inception in the 16th century. The Index died because the publishing world had become too complex, impossible to keep up-to-date with. The Index died because new media were emerging. The Catholic Church will continue censoring ‘dangerous’ ideas, but nobody is going to be excommunicated for reading Sartre!

Valentina Mirabella, Curator, Romance Collections

References / Further Reading:

Index Librorum Prohibitorum: SS.MI D. N. PII PP. XII. Iussu Editus ed. ([Vatican City], 1948). F8/4644

Jesus Martinez De Bujanda and Marcella Richter, Index Librorum Prohibitorum 1600- (Sherbrooke, [Québec], 2002) Index Des Livres Interdits; 11. YF.2018.a.21220

Giovanni Casati, L’Indice Dei Libri Proibiti. Saggi E Commenti. (Milan, 1936-39). 2709.c.12.

“Index Librorum Prohibitorum.” Index Librorum Prohibitorum, 1948. 

The Library will be holding a number of events to mark Banned Books Week, and for more related posts, see our English and Drama and Americas blogs