A Look through The Samuel Richey Collection of the Southern Confederacy

A recent visit to the Gettysburg National Military Park inspired me to look through our Samuel Richey Collection of the Southern Confederacy for references to Gettysburg. While few letters in the Richey Collection discuss Gettysburg, there is correspondence from some of the Southern generals that fought there regarding other campaigns and concerns. There are letters from Robert E. Lee, John B. Hood, Richard Ewell, George Pickett, Jubal Early, and a telegram from William Barksdale. I had recently walked the ground where these men fought, and it was very special to be able to see their signatures and to hold these documents.

I was especially interested in several letters written by Jubal Early to Jefferson Davis after the war. Early describes his dispute with James Longstreet over their differing interpretations of why the Confederates lost the battle at Gettysburg. Early blames Longstreet for the loss due to Longstreet’s delay in attacking Union positions on July 2nd. Early’s letter of January 19, 1888 to Davis is a critique of an article that Longstreet had written about the Gettysburg campaign in Century Magazine in February 1887.

I first became aware of the Richey Collection in 1992 when Jerry Frey, a Civil War researcher from Cincinnati, came to Special Collections to research Union soldiers. While here he discovered a department brochure on the Samuel Richey Collection of the Southern Confederacy. As he began to explore the collection he realized that the letters covered most of the Civil War. He decided that he would try to place some of the letters into a proper historical context, and this research led to the writing of his book, In the Woods Before Dawn: The Samuel Richey Collection of the Southern Confederacy, which was published in 1994.

Sutton Richey was an 1855 graduate of Miami. He was an admirer of Robert E. Lee and hoped to collect letters by Lee, but they were hard to come by. It was easier to obtain letters by Jefferson Davis, President of the Confederate States of America, and so he began collecting Davis letters. Richey’s son, Samuel, an 1894 Miami graduate, continued collecting Civil War documents. In 1960 the bulk of their collection was donated to Miami University. To see what letters and documents are in the Richey Collection you may view our finding aid online: Samuel Richey Collection of the Southern Confederacy .

As our nation continues to observe the sesquicentennial of the American Civil War I would like to draw attention to the wealth of Civil War materials that are housed in the Walter Havighurst Special Collections. Last fall we exhibited some of these letters and documents when Special Collections Librarian Kim Tully curated an exhibit, Voices from the Civil War in the Walter Havighurst Special Collections. We continue to display Harpers Weekly from 1862, and each week we turn to a new issue that covers the events of the war that occurred one hundred and fifty years ago. Our Miscellanea Collection has Civil War letters and documents, including two dispatches from Jeb Stuart, another Confederate general who fought at Gettysburg. We have a collection of Civil Diaries written by Miami students and by local Ohio community members. For a more complete list of Civil War related materials in the Walter Havighurst Special Collections please refer to the exhibit brochure The Deadliest That Ever Darkened Earth.

Jim Bricker
Senior Library Technician

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Marginalia from the stacks

mar·gi·na·lia – noun pl \ˌmär-jə-ˈnā-lē-ə\:  marginal notes or embellishments (as in a book)

We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.

– Excerpt from the poem “Marginalia” by Billy Collins

Occasionally, when working with materials in the Walter Havighurst Special Collections, I run across a book that has a little something extra – marginalia. While I am certainly not trying to encourage patrons to write in library books, it can be fascinating to open up a book and find a lot more than you were expecting to see. The contrast of handwritten notes and drawings with the uniformity of the printed text never ceases to jump off the page, instantly grabbing my attention. Perusing the notes and comments of readers that came before me brings a new level of interaction to my reading experience.

Marginalia has a long history and has been around for centuries. The oldest form of marginalia is referred to as scholia, meaning an explanatory note or commentary, and is often found on Greek and Latin texts. Despite its long history, not all marginalia is welcome. While marginalia can add to the value of an association copy of a book, it can just as easily detract from that value, depending on the author of the marginalia and on the book.

Diagrams and notes hand drawn on the book's endpapers

The first recorded use of the word marginalia to describe marginal notes or embellishments was in 1819 in Blackwood’s Magazine. In the 1840’s Edgar Allan Poe titled some of his reflections and fragmentary material “Marginalia.” Even today the importance of marginalia continues, with many e-book devices equipped to allow a limited form of marginalia.

Handwritten notes surrounding a printed illustration

One of my favorite examples of marginalia from the Walter Havighurst Special Collections are found in two textbooks from the 1850’s – Smith’s Illustrated Astronomy (1852) and Smith’s Atlas of Modern and Ancient Geography (1857). Both volumes come from the personal library of Ohio Governor, 1865-1866, Charles Anderson and it is assumed that the notes and drawings found in the books belong to him.

Charles Anderson was born near Louisville, Kentucky on June 1, 1814. He attended Miami University from 1829 until his graduation in 1833. Anderson went on to become a lawyer, opening his own firm in Dayton and then later, Cincinnati. Anderson’s foray into politics began in 1844, when he was elected to the Ohio Senate as a Whig. Anderson advocated granting African Americans civil rights and argued, unsuccessfully, that Ohio should repeal its “Black Laws”.

By the time the Civil War broke out, Anderson had moved with his family to Texas. Anderson was not very popular due to his vocal support of the Union and, fearing for his and his family’s safety, fled to Mexico, but he eventually ended up back in Dayton.

Hand drawn map on the left, printed map on the right

After a brief stint in England, where Anderson was sent by President Lincoln in order to seek support for the Union war effort, Anderson returned home to Ohio and received a commission as a colonel in the Ninety-Third Ohio Volunteer Infantry. He resigned his commission after being severely wounded at the Battle of Stones River and chose to once again enter the political arena. In 1863 Anderson was elected Lieutenant governor and served under Unionist governor John Brough. After Brough died in office on August 29, 1865 Anderson became Ohio’s twenty-seventh governor. Anderson only served from August 1865 until January 8, 1866, when Brough’s term officially ended. After completing his term as governor Anderson returned to his law practice in Dayton. He retired in 1870 and moved to Kentucky, where he  died on September 2, 1895.

The two textbooks from Anderson’s library are filled with notes, drawings, maps and diagrams providing a glimpse into his interest and knowledge of the subjects.

Ashley Jones
Preservation Librarian

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From the Stacks: Grandville’s Les Fleurs Animées (The Flowers Personified)

One of my favorite things about my job is cataloging our rare book collections because I never know what I’ll find when I look between the covers of the books that cross my desk.  I’ve cataloged hundreds of early print titles in my career as a Special Collections librarian and I do so love the aesthetics of the hand-press printed book…the texture of the paper, the detail of the type design, the layout of the title page, and the simplicity of the overall design.  However, when I do work with books from the nineteenth century, I’m often most drawn to totally different aspects of the book as object…such as the publishers’ bindings and the placement and quality of the illustrations.

One of the most attractive nineteenth century books I’ve encountered in Miami’s collections is The Flowers Personified, the 1849 American edition of the famous French illustrator J.J. Grandville’s Les Fleurs Animées.  Miami’s copy of this edition also features the original and beautifully ornate leather publishers’ binding, as issued by R. Martin, the New York publisher.

Translated from the French by Nehemiah Cleaveland, the two volume text consists of selections of musings on the history and meaning of a variety of flowers by Alphonse de Candolle, Taxile Delord, and Alphonse Karr.

The accompanying illustrations by Grandville, engraved and hand coloured by J.N. Gimbrede,  are the highlight of this volume.  The illustrations of women as flowers personified, clothed in courtly fashions blended with petals and leaves, are exquisitely rendered and have both a fairy-like quality and a tongue-in-cheek playfulness about them that is captivating.  I especially enjoy the gothic feel of the “Poppy” putting several crickets to sleep and the majesty of the “Rose” with her beetle subjects kneeling before her.

J.J. Grandville (1803-1847) was better known for his caricatures of French society, specifically his depictions of animals dressed in human clothing which first appeared in Les Métamorphoses du Jour  in 1829.  This motif is revisited in the inclusion of “The Ass in the Lion’s Overcoat” in his interpretation of the “Thistle”.

Many threads of nineteenth century social, cultural and book history come together in this work: the rise of leisure reading, especially by women, a growing middle class and consumer culture, technological advances in book illustration and production, and the tension between scientific rationalization and the Romantic movement of the first half of the nineteenth century.  This gift book is also an example of floriography, or the language of flowers, which was incredibly popular during the Victorian period.   Gift books were heavily illustrated nineteenth century books published around the holiday season which were purchased and then given as gifts.  We have quite the collection of Victorian gift books and literary annuals here in the Walter Havighurst Special Collections.  Imagine receiving this gorgeous book in your Christmas stocking!

Kimberly Tully
Special Collections Librarian

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Head’s Up: The Ancient of Days

A recent post on a listserv led me to a fascinating article in the Harvard Gazette. The story concerns some 4000 year old cuneiform clay tablets that were looted from Iraq, seized by U.S. Customs from smugglers, and consequently survived the destruction of the World Trade Center, where they were being held, on 9/11. They have since been conserved, translated and repatriated to Iraq.

The article triggered three lines of thought. One concerns the small cache of early writings we have in Special Collections. We hold five cuneiform clay tablets; one is part of a “leaf book” called Pages from the Past that includes samples of many historical formats. We inherited the other four from the former Western College Library, along with some other early artifacts, and there the trail ends so far as I know. If anyone knows more about their provenance I would love to hear from you.

I thought it would be appropriate to share images of these pieces to publicize their existence and to invite scholars to view them (click on the image to enlarge it). We know that most of these tablets documented the mundane minutiae of everyday human life: taxes, business transactions, court documents. And this small handful is unlikely to contain anything earth-shattering.  Then again, it’s the everyday experiences that really define our existence as humans. Perhaps these small pillow-shaped pieces of clay say more about human life in their day than the proclamations of kings.

Secondly, I was struck by the use of the term “tablet” to describe both these clay artifacts and the handheld electronic devices now gaining popularity. It is easy to envision a Mesopotamian scribe holding one of these clay pieces in his left hand and using his stylus with his right to incise the characters; it’s not so different from one of us using a tablet or cell phone.  The constant is the human body, and what was comfortable for a scribe in 2000 B.C.E. is still comfortable for us today.

The third thing that occurred to me, and the point of the original post that started this, was the survival of these early human writings through the millennia, including the devastation in New York. Thanks to the persistence of clay tablets such as these we can gain an understanding of humans living a long time ago, in a kingdom far, far away.  Of course the Mesopotamian scribes weren’t trying to create objects that would survive for millennia, but there seems to be a trend in the opposite direction.

As managers of rare books we are impressed by the survival of 1000 year old parchment or 500 year old books printed on cotton rag paper – particularly given the deterioration of 19th and early 20th century materials printed on acidic wood pulp paper. Many of us are struggling to deal with brittle audio and video tape that is less than 100 or even 50 years old. And what of our current electronic communications, such as this blog itself? I’m using a word processor to write this, and I’ll publish it via the web.  How long will this humble post survive? The rapid evolution of technology and information media requires an ever more frequent migration of content from format to format (remember floppy disks?). “Digital preservation” is all the rage in Library Land as we scramble to create a new expertise, both in the profession and in the commercial arena, to ensure the long-term survival of digital objects such as this text – even as we scramble to digitize the electromagnetic media of the past century before it deteriorates completely.

We have a long way to go in both endeavors.

Elizabeth Brice
Assistant Dean for Technical Services and
Head, Special Collections & Archives

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The Seinfeld Connection

Recent acquisitions are the focus for our summer exhibits, and new additions to the Rick Ludwin Collection provide us an opportunity to feature some of our favorite pieces from this collection. Rick Ludwin is a Miami alumnus who had a long distinguished career with NBC and rose to become Executive Vice President for Late-Night and Primetime Series. The Frogger table draft scriptHe is credited with the success of shows like The Tonight Show, Late Night with Conan O’Brien, Saturday Night Live, and Seinfeld. He continues a strong connection to Miami University, visiting the campus to talk with students in the Mass Communication Department.

Much of the focus of this exhibit centers on the television show Seinfeld. On display are five table draft scripts which use multi-colored pages to call out draft revisions. The Contest ScriptThere is also a leather bound “as telecast” script of The Contest that was given to the cast, writers and others, including Rick Ludwin, as a souvenir of a landmark episode shortly after it originally aired.

Another highlight is a special “coffee table book” that was used as a promotional gift to television stations that bought the Seinfeld series in syndication. The set consists of a small wooden coffee table in the shape of a book with legs. The table opens and inside was an actual coffee table book about Seinfeld. This volume was signed by the cast members and contains anecdotes, synopses, and color illustrations from each episode. The coffee table book was inspired by Kramer’s idea in the episode, The Cigar Store Indian.Coffee table book case

We have included a yearbook, Much Ado About Nothing, for the last season of Seinfeld. It includes photographs from the last year of the series, as well as photographs of actors and crew. There is also a variety of memorabilia on display: Ludwin’s backstage passes from Late Night with David Letterman and The Tonight Show with Jay Leno, and the playbill from The 50th Anniversary of the Primetime Emmy Awards. Julia Louis –Dreyfus won the Award for Outstanding Supporting Actress in a Comedy Series at this ceremony. Tonight Show stage passWe have also displayed The Academy of Television Arts & Sciences awards that honored Rick Ludwin for his work on the 1999 Macy’s Thanksgiving Day Parade and the Tonight Show with Jay Leno, along with other memorabilia from the Ludwin Collection.

We hope you will visit our Exhibit Gallery to see this exhibit along with other recent acquisitions.

Jim Bricker
Senior Library Technician

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Maurice Sendak: 1928-2012

Where the Wild Things Are

Maurice Sendak, widely considered one of the most important children’s book illustrators of the 20th century, passed away this week. I’d like to take this opportunity to look back at some of his work and highlight the creativity and imagination he brought to children’s literature.

Illustration from "Little Bear" by Else Holmelund Minarik

Born in Brooklyn in 1928, Sendak decided to become a cartoonist after seeing Disney’s Fantasia at the age of twelve. He illustrated his high school biology teacher’s book, Atomics for the Millions, in 1947 and also did backgrounds for a book version of the popular comic strip Mutt and Jeff.

Illustration from "Zlateh the Goat and Other Stories"

Throughout his career Sendak collaborated on many projects. Before writing his own stories, Sendak got his start illustrating children’s books written by other authors, such as Else Holmelund Minarik’s  Little Bear books, the first of which was published in 1957. Sendak also worked with other notable authors such as Ruth Kraus (author of Harold and the Purple Crayon) and Isaac Bashevis Singer – their collaboration on Zlateh the Goat, published in 1966, received a Newbery Award. Toward the end of his life, Sendak used his creativity and vast imagination to write and design for opera and ballet productions, including stage and costume designs for The Love for Three Oranges and a version of Tchaikovsky’s The Nutcracker for the Pacific Northwest Ballet.

Having illustrated over 60 books, Sendak is of course best known for Where the Wild Things Are, first published in 1963. The initial reactions to the book were overwhelmingly negative, but eventually the adult critics of the book soon realized that children were

In the Night Kitchen

enamored of the story and illustrations, reading the book over and over again, and eventually the negativity died down. Where the Wild Things Are ultimately went on to win the Caldecott Medal in 1964. The popularity of the book is undeniable; the book has sold over 19 million copies and has been adapted to other media several times, including  animated shorts (1973 and 1988), an opera (1980), and a live action film (2009).

Another of Sendak’s classic books, In the Night Kitchen, also caused a bit of controversy when first published in 1970 and continues to do so today. Many take issue with the fact that the main character, a little boy named Mickey, loses his clothing by page three and ends up exploring the city naked. Even though it is now considered a classic, In the Knight Kitchen still routinely appears on the American Library Association’s listings of frequently challenged and banned books, making the top ten as recently as 2004.

Costume design from "The Love for Three Oranges"

Throughout his long and prolific career, Sendak was honored with several awards, including the Caldecott Medal for Where the Wild Things Are in 1964, the Hans Christian Andersen Award for children’s book illustration in 1970, the National Book Award in category Picture Books for Outside Over There in 1982, the Laura Ingalls Wilder Medal in 1983, the National Medal of Arts in 1996, and the Astrid Lindgren Memorial Award, in 2003 (shared with Christine Nöstlinger).

In honor of Maurice Sendak’s life and work, there will be a small display of his books outside the doors to the Walter Havighurst Special Collections. The display will be up through the month of June.

Seven Little Monsters

Ashley Jones
Preservation Librarian
Jonesab2@miamioh.edu

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