Did you say…Spue?

Volumes affected with Spue

Volumes affected with Spue

When walking through the special collections’ stacks, it can be very alarming to come across a book or section of books covered in white blooms, as was the case with our Erodelphian Literary Society and Miami Union Literary Society book collection. Both the Erodelphian Literary Society and Miami Union Literary Society were formed at the end of 1825 and amassed their own libraries for member use. The formation of the literary society libraries was in response to the fact that not only was the university library at the time very small and limited, access to the university library was also restricted to faculty and upperclass men only.

Most of the books in the literary societies collection are leather bound volumes that pre-date 1840. The collection is currently in the process of being re-housed and prepped for cataloging. This past winter, we noticed that many of the volumes had developed white blooms along their spines and outer edges. My initial reaction was to assume that we had developed a mold infestation. Luckily, that was not the case.

Spue is usually found in areas of the leather exposed to air, such as spines and edges

Spue is usually found in areas of the leather exposed to air, such as spines and edges

Through a little more research and observation, it was discovered that the white blooms were in fact a substance known as “spue.” According to the Alaska State Museum’s blog, “What’s That White Stuff?” spue is a “white bloom resulting from fats, oils and waxes and may be referred to in the literature as fatty bloom, or fatty spue (spew). These terms all refer to the migration of fats/oils through the leather material that crystallize on the surface in the presence of air.”

After determining our white bloom outbreak was not mold, but spue, we dug a little deeper for more information. According to an article written by William Mclean, “Leather ‘Bloom’ – Causes and Remedies” (Skin Deep, vol. 2, Autumn 1996):

“Crystalline surface deposits known in the leather trade as “spues”, arise because of the migration towards the surface of unbound, mobile components from within the leather. They are unsightly but are not, generally speaking, harmful and they often come about as a result of cyclical changes in environmental conditions, i.e. fluctuating temperature or humidity. Broadly, these deposits may be subdivided into salt spues and waxy spues. The classical method of differentiating is by applying a local source of heat, for example a match flame, which will usually cause a waxy spue to melt and disappear – at least temporarily, whereas a salt spue will be unaffected.”

Using this information, we were able to determine our spue was of the fatty or waxy variety. But how did it form and why did it appear so suddenly on such a large collection of books? According to Leather International’s Mechanisms involved in the formation of fatty spues:

Close up of fatty spue

Close up of fatty spue

“There are different opinions about the formation mechanism of the spues, although everybody agrees on the differences in the displacement of different fat components into the leather. Papers on the subject agree that the fatty acids and their esters initially form as a dissolved material in the liquid phase, with the liquidic oil acting as a solvent at room temperature. They come from natural fats and from fatliquors added in the process. This solution becomes oversaturated due to a high concentration of fatty acids and esters and/or to a fall in the room temperature. As a consequence the fats migrate to the outer surfaces of the leather and crystallisation of the fatty acids and/or glycerides occurs. The concentration of the acids and esters is due to a differential solubility of the components in the leather. The liquid oils are either partially or totally reabsorbed in the fibre network while the crystallised fatty acids and glycerides remain on the surface.”

While we can’t be 100% sure of the cause, the appearance of our fatty spue did correspond with a sudden and prolonged drop in temperature (during the winter) of our special collections closed stacks area due to mechanical failure in our environmental control systems. What is interesting to note is that spue was not found on any other volumes other than the ones belonging to the Erodelphian Literary Society and Miami Union Literary Society collection. It is possible that these volumes were treated with leather dressings or other substances that at one point were thought to prolong the life of the leather object. According to “What’s That White Stuff” this is known as secondary bloom, or “bloom caused by the application of fats and oils to the surface of the leather” as opposed to fats and oils added while processing the leather. For centuries people have been applying leather dressings to bound volumes and other objects, however it has become clear that many of these substances can cause damage.

IMG_1295We have since removed the spue from our materials, and while spue is quite easily cleaned from the leather surface, research suggests there is no guarantee it will not reoccur.

Ashley Jones, Preservation Librarian

Digital Collection Updates: Postcard Map and New Freedom Summer Materials

This week I have two very exciting updates to our digital collections to announce.

The United States on our postcard map. By default the map is zoomed into Ohio, where most of our cards are.

The United States on our postcard map. By default the map is zoomed into Ohio, where most of our cards are.

First is the completion of a map of our current digital postcard collection which you can see here, or get to from the link in the navigation bar at the top of the full collection. This has been a fun project I’ve been working on for a while, and I think it fits the data in our geographically-organized collection perfectly. Each blue pin you see is the location depicted on one of our postcards, and if you click on the pin a popup with a thumbnail and title of the postcard will appear – both the image and words are a link to the postcard in the full collection in CONTENTdm. The colored circles you see are clusters of cards, and if you mouse over the circle you will see the area which it covers. Clicking on the circle will zoom in to that area and show you the distribution of cards on a smaller scale. Many of our cards, especially those in Oxford around Miami, we were able to identify down to the exact building which makes for a pretty exciting map!

Map of Oxford postcards

Believe it or not, we have a lot of postcards from Oxford.

The map was made with a combination of PHP scripts and the Leaflet JavaScript library. The first major hurdle I came across was that the CONTENTdm API was not up to the task of being hit thousands of times each time I loaded the map. To work around this, I wrote a PHP script that pulls all the relevant information from the API and stores it in a SQL database on the library’s servers. From this SQL database, I was able to write a second PHP script which makes the actual map by writing a new layer to the map for each row in the SQL database. It took some toying to work out the bugs – and one message to our systems administrator on his day off about an unintentional consequence of one of said bugs (sorry…) – but it’s been great seeing our efforts finally come together.

I’m still working on improving the accuracy of the map, and please note that some of the locations are approximations, but I encourage all of you to explore this new way of visualizing the collection.

The second announcement is the addition of the Carole Gross Colca and Mark Levy collections to the Freedom Summer Text & Photo Archive. The Text & Photo Archive is one of two Freedom Summer digital collections we have (along with the A/V Collection) and features a variety of photographs, newspaper clippings, pamphlets, letters, and other items related to Freedom Summer 1964. The Levy collection, made up of photographs taken by Mark Levy and Donna Garde in Mississippi at the time, was graciously made available to us as duplicates of the originals which are housed in the Civil Rights Archive of the Queens College Special Collections and Archives. Like the Colca materials, the duplicates are kept in the Western College Memorial Archives.

With it being the 50th anniversary this summer – and the memorial conference here in Oxford coming up in October! – this is the perfect time to learn more about this crucial moment in our nation’s history.

Marcus Ladd
Special Collections Digital Librarian

Bravo!: Publishing the opera in London, Paris, and New York

After a recent trip to Cincinnati with three of my Special Collections colleagues to see Bizet’s Carmen performed at the Cincinnati Opera, I’ve begun to explore the wonderfully opulent world of opera.  I’m quickly becoming enamored with this passionate and dramatic genre and I’ve also discovered the importance of not just the aural but the visual experience of opera.  And as with many of my popular culture interests, I try to make connections with them and with my professional work in Special Collections.  This regular practice of drawing connections between the present and the past, the personal and the academic, often informs my instruction to undergraduates and others, as well as my outreach activities. That’s the perk of working with large and varied special collections…there’s always something to interest you (and hopefully the public)!  I thought I’d dedicate this blog post to highlighting a few items in the Walter Havighurst Special Collections that in a small way illustrate how printers and publishers enriched and reflected the opera goers’ experience over the centuries in three cities known for both their opera houses and their print culture.

Bononcini's Camilla, London, 1709

Bononcini’s Camilla, London, 1709

Our first stop in our quick tour through three centuries of opera in print is a 1709 London printing of the libretto for Bononcini’s Camilla, performed at the Queen’s Theatre in the Hay-Market, printed by Jacob Tonson.  The dedication to patron Lady Wharton by Owen Swiny, a successful theatre producer of the period, declares the  popularity of Italian opera throughout Europe and the hope by Swiny that the English musicians may soon rival their Italian peers. Much like performance programs today the singers portraying the roles are identified in the pages of this pamphlet and this production featured the first popular English singer of Italian opera, Catherine Tofts, in the lead role.  She is shown below in a painting entitled Rehearsal of an Opera by Marco Ricci from the same year as this production.  This cheaply printed quarto also includes some early marginalia in the form of translations of the Italian text on some pages and was used by its contemporary owner to commemorate and enrich their opera-going experience.

Camilla dedicatory leaf

Camilla dedicatory leaf

 

Camilla: The persons represented.

Camilla: The persons represented.

 

Marco Ricci's Rehearsal of an Opera, ca. 1709, featuring Catherine Tofts and rival

Marco Ricci’s Rehearsal of an Opera, ca. 1709, featuring Catherine Tofts and rival

Marginalia on leaf of Camilla

Marginalia on leaf of Camilla

The next stop on our tour is a little over a hundred years later in Paris with this libretto for a one act opera by Simon Mayr, a German-Italian composer, published by the Theatre Royal Italien in 1815.  Though Italian operas often suffered in popularity compared to their homegrown French operas, imports like this piece in the opera-bouffon style were staged at the Theatre Royal Italien then under the direction of the Italian soprano Angelica Catalani. Indeed, Catalani (shown below in a portrait by the French artist Louise Elisabeth Vigee Le Brun) is listed as playing one of the principal roles.  It is possible that this particular play was more popular than expected as the printed price on the title page has been revised higher and corrected in manuscript.

Il pazzo per la musica, Paris, 1815

Il pazzo per la musica, Paris, 1815

Angelica Catalani painted by Vigee Le Brun, 1806

Angelica Catalani painted by Vigee Le Brun, 1806

Il pazzo per la musica, Paris, 1815

Il pazzo per la musica, Paris, 1815: The cast

Our next stop takes us to early twentieth century New York where the enduring popularity of Italian opera is illustrated by this program for Puccini’s La Boheme from the 1922-1923 Metropolitan Opera season.  From it’s premiere in 1896 to the present day, this romantic Puccini opera remains a popular one in the repertory and continues to inspire, most notably in the 1990 ground breaking production by stage and film director Baz Luhrmann and as the basis for the Pulitzer and Tony award winning musical, Rent, by Jonathan Larson.

The advertisements in this program are fascinating and include advertisements for the latest recordings of the opera stars of the day as well as services only wealthy opera goers would require, like special cleaning services for ball gowns!

Metropolitan Opera House, Grand Opera Season 1922-1923

Metropolitan Opera House, Grand Opera Season 1922-1923

La Boheme program

La Boheme program

And finally, an exciting recent donation to our collections by Allen W. Bernard are two scrapbooks of regional and international theatre and opera programs collected by a nineteenth century patron of the arts named Alice Bates between 1894-1897.  We are delighted that Mr. Bernard thought they would find a good home here in Special Collections and I look forward to showing them off to music and theater students in the near future!

Alice Bates's scrapbooks, 1894-1897 donated by Allen W. Bernard

Alice Bates’s scrapbooks, 1894-1897 donated by Allen W. Bernard

Pages from the Bates scrapbook featuring the Metropolitan Opera in New York

Pages from the Bates scrapbook featuring the Metropolitan Opera in New York

Though Special Collections does not have a particular collection strength in music history, these pieces demonstrate the breadth of our collections, especially for teaching purposes and are always great for a “quick peek” into the past.

Kimberly Tully
Curator of Special Collections

Head’s Up: A Family Affair

covington titleThis summer we are highlighting one of our major collections in our main exhibit: Covington’s Cincinnati: The Samuel Fulton Covington Collection (June 4-Aug 1). I have had the pleasure of collaborating on this exhibit with John H. (Jack) White, MU ’58 and a Cincinnati native, who spent many years as a curator of transportation at the Smithsonian and whose acquaintance with the Covington Collection goes back to his college days.

On Thursday, July 24, from 4 to 6 p.m., we will host a public reception and we invite you to join us. Jack White will provide a guided tour of the exhibit and share some of his amazing breadth of knowledge of the Queen City. We’re delighted that the Williams family, descendants of Covington, will be joining us for this event.

Samuel Fulton Covington (1819-1889) was born in Rising Sun, Indiana, and after a few years of trying several occupations ended up in the insurance business in Cincinnati. Although never a “big name” in the business, he was well-known in local business and political circles and made a comfortable living for himself and his family, eventually settling in Madisonville. His son John I. Covington graduated from Miami in 1870 and married a Western College girl. Their daughters both graduated from Western; one of them, Annette, became a well-known regional artist. The other, Mary, married a Miami zoology professor, Stephen Riggs Williams.

Like other businessmen in the late 19th century, Samuel began to collect books in his leisure time. He had a strong interest in local history and began to think of writing a history of Cincinnati. His collection, while wide-ranging, had a particular focus on the history of the Old Northwest Territory. His history of Cincnnati, alas, was never written.

In 1915 his widow sold his book collection to Miami University. In recent years his descendants via Stephen Riggs Williams have donated large sections of the family archive to Special Collections. This extensive family collection — letters and personal diaries, account books and business papers, photographs and ephemera –provides a fascinating perspective on one family’s experience in late 19th century Cincinnati.

One of the pleasures of creating an exhibit is the opportunity to take time from one’s many other responsibilities and really explore a collection. Jack and I had the invaluable help of Special Collections Librarian Kimberly Tully and Caylan Evans, our graduate assistant this past year. They led us to many wonderful finds and topics, from steamboats to the Industrial Expositions to love letters. One of my own finds was an early Ohio River navigation guide in which a young Samuel had practiced his name and on the map showing Rising Sun had written, “This is where I live.” Another came from a different collection entirely: an amazing panorama,  Panorama of the Procession of the Order of Cincinnatus, published upon the opening of the 1883 Exposition.

panorama

 

Caylan completed the work begun by two other GAs in compiling a finding aid for the Covington Family Papers, under Kim’s supervision. It is now available online. Samuel’s book collection has continued to grow during its century at Miami and is now a comprehensive collection  that includes almost every significant example of 19th century regional history. Covington books are represented in the library’s catalog with the designation “Cov.”

Harrison-Covington ltrExhibits often lead to continuing discoveries as we all learn more about our collections. After the exhibit was completed, in the course of following up a separate inquiry, I discovered a letter that had come in with the Covington materials but had been separated from the rest of the collection. There was, however, a very good reason for this. The letter had been written to Samuel by Senator Benjamin Harrison (MU 1852), replying to Samuel’s inquiry regarding a political matter, and had been placed with our other Harrison correspondence. It is listed in the Harrison finding aid; we will add a cross reference to it in the Covington finding aid as well.

Samuel himself  attended Miami, but only for a year; he was forced to leave and go to work to help support his widowed mother and family. But Samuel Fulton Covington will always be an honored name at Miami. His books and his family have made certain of that.

Elizabeth Brice
Assistant Dean for Technical Services & Special Collections

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Happy Birthday America

Since the Fourth of July is Friday, it seems only natural to use my blog post to celebrate our Nation’s birth. I looked through an assortment of our children’s books and came up with a variety of expressions on what this special day means. All of the illustrations and text come from books in our Edgar and Faith King Juvenile Literature Collection.

From: America Her Patriotic Stories and Exciting Events by Allen E. Fowler. 1898

From: America: Her Patriotic Stories and Exciting Events by Allen E. Fowler. 1898

The Story of the United States in Moving Pictures contains twelve reels, perforated disks in the pages, that can be removed and attached to the front of the book by means of a brass pin. You can then rotate the reel to view the images through the cut out area of the cover. The image below is of the cover; the following image is for July 4, 1776.

From: The Story of the United States in Moving Pictures: 12 Big Reels. Robert J. Bezucha and Neumann R. Von. 1931

From: The Story of the United States in Moving Pictures: 12 Big Reels. Robert J. Bezucha and Neumann R. Von. 1931

From: The Story of the United States in Moving Pictures: 12 Big Reels. Robert J. Bezucha and Neumann R. Von. 1931

From: The Story of the United States in Moving Pictures: 12 Big Reels. Robert J. Bezucha and Neumann R. Von. 1931

An American ABC describes important people and events in American history with a page devoted to each letter of the alphabet and an illustration accompanying each page of text.

From: An American ABC by Maud and Miska Petersham. 1941

From: An American ABC by Maud and Miska Petersham. 1941

After a brief history of the colonies banding together to form a nation, Broad Stripes and Bright Stars tells the story of the American flag. The author describes flag etiquette and changes to the flag over time. She ends with the story of how the National Anthem came to be written.

From: Broad Stripes and Bright Stars by Beatrice B. Grover. 1941

From: Broad Stripes and Bright Stars by Beatrice B. Grover. 1941

The History of the United States Told in One Syllable Words begins its history in 900 AD with the “Norse men” sailing to “Ice-land” and ends before “Ches-ter A. Ar-thur” ends his term of office. All words of more than one syllable are broken into syllables.

From: The History of the United States Told in One Syllable Words by Josephine Pollard. 1884

From: The History of the United States Told in One Syllable Words by Josephine Pollard. 1884

I end with my favorite book of the group, A Child’s History of America. This book was published right before our nation’s Bicentennial Anniversary. From the dust jacket: “Over 25,000 children from every corner of America have participated in the creation of this remarkable book. They have written and painted with the total involvement that is so joyously a part of childhood.” I have selected two pages to include here.

From: A Child's History of America written by America's Children. 1975

From: A Child’s History of America written by America’s Children. 1975

From: A Child's History of America written by America's Children. 1975

From: A Child’s History of America written by America’s Children. 1975

We hope you will find an opportunity to visit Special Collections this summer, and we hope you have a safe and enjoyable Fourth of July.

Jim Bricker
Senior Library Technician

From the Stacks: Karen Hanmer’s Biblio Tech

Biblio Tech, issued in a clamshell box

Biblio Tech, issued in a clamshell box

As someone with both a professional and personal interest in book arts and bookbinding, one of my favorite items found in Special Collections is Biblio Tech: Reverse Engineering Historical and Modern Binding Structures with a Focus on Board Attachment by Karen Hanmer.

Example of leather fine binding structure

Example of leather fine binding structure

Biblio Tech is a set of bindings that first began as a project for a series of workshops on board and case attachment for book artists who were primarily printmakers. In the set of bindings, Hanmer “models numerous structures, all left uncovered and only partially completed so methods of board attachment, sewing, spine lining, and endsheet construction remained visible.” Biblio Tech is a fantastic resource for anyone interested in the books arts and bookbinding techniques.

Boarded binding structure

Boarded binding structure

Boarded binding, inside

Boarded binding, inside

Biblio Tech includes examples of twelve different binding techniques including simplified binding, non-adhesive paper case, sewn boards, split board, German case, leather fine binding, scaleboard, boarded binding, crossed structure, tacketed, Medieval, and Ethiopian binding. The binding examples utilize various papers, boards, leather and sewing supports. Each model measures approximately 13 x 9 x 1 cm. The set also includes a 45 page illustrated booklet outlining key structural features of each binding and providing numerous references for further study.

Non-adhesive paper cover binding

Non-adhesive paper cover binding

German case binding, which is the primary binding style used in preservation for repairing circulating materials.

German case binding, which is the primary binding style used here in Preservation for repairing circulating materials.

Ashley Jones
Preservation Librarian

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