8 September 2014
As Elizabeth Bruxer correctly identified within a few short hours of its posting, this month’s crocodile mystery showed the inner disc of an unconstructed volvelle from a copy of the 1591 edition of Giambattista della Porta’s De furtivis literarum notis (STC 20118). The key to her identification lay in recognizing the image as being part of a volvelle and guessing that it was connected to ciphers. (Read her comment for a full elucidation of how she solved the mystery.)
What I showed you last week was just one inner disc, although the “3” written below it might have clued you in that there were other similar objects. A view of the full page opening makes it more clear, I think, what we’re looking at:
the inner discs of unconstructed volvelles, bound in after sig. I4 (just before the first volvelle on sig. K1r)
There, in the upper right-hand corner is our disc number 3, along with a nearly identical disc labeled “1” and at the bottom of the page, disc 2. Why would these discs be numbered? So that the person constructing the volvelles knows which frame they belong to: Continue Reading →
2 September 2014
What manner of thing might this be?
As always, leave your guesses and questions in the comments below, and come back later in the week for the reveal!
Update (8 September): The reveal is now up: http://collation.folger.edu/2014/09/constructing-volvelles/
27 August 2014
If you’ve been spending any time on social media recently, you’re likely to have come across Pop Sonnets, a new Tumblr that provides, in their words, “Old twists on new tunes, every Thursday.” Here, for instance, is their deft rewriting of Gloria Gaynor’s 1978 hit, “I Will Survive“:
Pop Sonnets’ adaptation of Gloria Gaynor
If you know Gaynor’s song, you’ll appreciate the adaptation of the song’s chorus and verse structure to the sonnet’s characteristic use of the final turn. If you know your Shakespeare, you’ll also appreciate the echoes of Pop Sonnet’s couplet with that of Shakespeare’s Sonnet 18: Continue Reading →
19 August 2014
“It’s satisfying to put the pieces of a puzzle together when we can, but it’s just as exciting to think of the undiscovered treasures that might be hiding in this collection.”—Nadia Seiler
Nadia Seiler (1978-2014)
To be a great cataloger is to love a puzzle, to obsess over details, and to delight in sharing discoveries. Nadia Seiler was one such cataloger, someone whose work contributed to the scholarly record and whose joy in revealing collection materials helped shape what we do. In her seven years at the Folger, Nadia added 2,614 records to Hamnet, edited thousands more, and was responsible for describing 4,208 individual manuscripts in Folger finding aids. She identified a previously unattributed autograph poem from noted writer Hannah More to theater impresario David Garrick (Y.d.1089 (18)). Her familiarity with, and interest in, Shakespeare and the Folger’s collection made her the perfect assistant to Folger Director Michael Witmore and artist Rosamund Purcell as they prepared their 2012 exhibit, “Very Like a Whale,” which sought to forge connections between Shakespeare’s words and the spiraling associations they provoke across the Folger collection and into the domains of natural history and photography. Continue Reading →
12 August 2014
It’s official: pictures in the Folger’s Digital Image Collection are now licensed CC BY-SA! That is, they can be used under a Creative Commons Attribution–ShareAlike 4.0 International License, one of the two Creative Commons licenses “approved for free cultural works.” That’s almost 80,000 images, and counting. We’ve already started adding images to Wikimedia Commons for use in Wikipedia and elsewhere, and encourage you to do the same. Here’s the message that now appears at the bottom of every page in the database: Continue Reading →
5 August 2014
In earlier posts I surveyed the use of “v” for “u” in titles and imprints of books printed in the Southern Netherlands. In both cases, this habit clearly faded out in the course of the seventeenth century. These findings, in combination with the following title page, prompt the question what happens with the combination of “V”s representing a “W.”
The best known example of this usage of “VV” for “W” probably is the title page of the First Folio. The reason for the usage of the combination of two “V”s is that originally the “W” was not included in the printer’s lettercase.
I was wondering whether the “VV” for “W” would disappear in the course of the seventeenth century at the same time as the “V” for “U” in title words of books printed in the Southern Netherlands. Continue Reading →
31 July 2014
Sometimes books surprise us, and not always for the reasons we expect. Is there something unusual about the book below? Is is maybe a bit more narrowly oblong than usual?
an oddly shaped book
Two years ago, I took Rare Book School’s course on descriptive bibliography. It was a great experience—it immersed me, and a group of other similarly dedicated biblionerds (as one of my friends affectionately refers to those of us who ooh and ahh at the intricacies and oddities of rare books), into the details of producing descriptions of rare books according to the established principles of bibliographical description. (“What would Bowers do?” was our mantra.) Continue Reading →
29 July 2014
For the past seven months, a small team of dedicated colleagues here at the Folger have been working very hard to bring you a new online, interactive tool that we hope will inspire collaboration and serve the Folger community. With this blog post, I invite you to explore, cultivate, and contribute to the newest resource at the Folger: our wiki, Folgerpedia!
screenshot of Folgerpedia landing page
Folgerpedia is an infinitely updateable, constantly growing encyclopedia of all things Folger and of interest to the Folger community. The wiki platform (MediaWiki, the same platform as Wikipedia) allows for collaborative generation of information surrounding our collection, Library, institution, programming, education initiatives, and the literature, culture, and history of early modern England and Shakespeare. To explore its wealth, all you need to do is navigate to http://folgerpedia.folger.edu/ or put “Folgerpedia” in your favorite search engine. You can browse the site by simply enter a keyword in the search bar or by following links to highlighted or recently edited articles.
Folgerpedia presents a source for information generated by you: readers, researchers, scholars, and Folger friends who wish to share your knowledge, your research process and its results, data you have generated using our collections, and more. We encourage you to share information on your favorite topics and to collaborate with others who share your interests while also learning from users who generate content on Folgerpedia. There is so much you can do with Folgerpedia: Continue Reading →
24 July 2014
A guest post by Julie Park
It’s been a critical commonplace after Ian Watt’s The Rise of the Novel to view the novel as the first literary form to represent psychological individuality in the context of everyday life. My research, however, examines how the spaces and objects of daily life in eighteenth-century England worked as vehicles of interior experiences in their own right. Working from this angle might change our conceptions of the novel, not only its historical relationship to how selfhood is defined, but also its relationship to the material culture of the greater society around it.
By using my Folger long-term fellowship to look at written documents of daily life from real eighteenth-century lives, I thought I might complicate claims about the early novel’s method of representing interior or psychological experience through diurnal structures. One line of my exploration was how a form of portable interiority surfaced in the small books that were designed for carrying in one’s pocket. The novel itself, in its eighteenth-century print manifestation, was pocket-sized, conveying not only its affordability and portability, but also its ability to be held in the hand and worn against the body. Just as the novel conveyed its own interior worlds to readers, the experience of reading the physical book created an interior world between the novel and its reader, even when carried into exterior settings, from pleasure gardens to carriages for travel.
Among the holdings of eighteenth-century pocket-sized books I found at the Folger is The Ladies Memorandum Book, for the Year 1796 (M.a.17), a green leather book with gold tooling around its edges. At 12×7.5 cm, it can easily be held in the palm of one’s hand. Its fore-edge is covered by a flap that extends from the front cover and is attached to the back by a gold clasp. Flipped to its back, with its diagonal seamed flap, the book resembles a modern day envelope. Yet its sides are left open, and there is a thickness to its body created by the stack of pages sewn into its spine. Further examination of the book will reveal it indeed functions as much of an envelope and a pocket as a book.
The front cover (left) and back (right) of the pocket diary
Continue Reading →
22 July 2014
Have you ever received a fundraising letter in the mail that looks handwritten, or has a “handwritten” postscript or post-it note? This is an attempt, of course, to make the letter feel more personal. The recipient of the request is supposed to be intrigued: “Gee, this organization actually put some thought and time into their message, and I owe them a response.” This can backfire, of course, when the recipient realizes that the letter is a direct mail campaign, with nothing personal about it.
Fundraising is a time-honored tradition. Hark back to the seventeenth century, when James I began his own money raising campaign with a series of handwritten privy seal letters requesting loans, to be paid back within eighteen months.
Below is an example of an appeal for a loan to fund military provisions in Ireland. It has the equivalent of a James’s signature at the top (“By the King”) and is counter-signed at the bottom by Frances Mylles. Continue Reading →