This summer we started a multi-year project to reprocess one of our most visually rich, fascinating, least known and hardest to use collections (hoping, of course, to change these latter points).

Students exploring the newly opened Frost Library in September of 1965

Students exploring the newly opened Frost Library in September of 1965

The College Photographer’s Negatives Collection is a large collection of negatives and prints created by the official college photographers from 1960 to 2005. The college photographers documented all aspects of the college and college life: events, staff, buildings, sports, theater, daily student life, and everything in between. The current project is to rehouse the negatives (which are already listed in the finding aid) and organize and integrate the many boxes of prints. Our hardworking student assistant, Tessa McEvoy ’16, has already rehoused the 21,000+ negatives from the 1960s and is moving full steam ahead into the 1970s. Continue Reading »

In a previous post I wrote about Otis Cary (AC 1943), “Amherst’s Man in Japan,” who worked with Japanese POWs after World War II and went on to represent Amherst College at its sister institution, Doshisha University, for several decades. I’ve recently had an opportunity to revisit the incredibly rich and vast unprocessed collection of Cary Family Papers to discovered another story from the war, this time featuring Cary’s father, Frank Cary (AC 1911).

Frank Cary as an Amherst senior, 1911

Frank Cary as an Amherst senior, 1911. An all-season athlete, his nickname was “Jumbo.”

Santo Tomas Internment Camp, 1945. Shanties were built in the courtyard to relieve overcrowding. National Archives, Records of the Office of the Chief Signal Officer [111-SC-202141]

Like his father before him, Frank Cary was an ordained Congregational minister (Oberlin, 1916) who served as a missionary in Japan. From 1916 until 1941, he was involved in school and church work in Japan until the threat of war made it necessary for Americans to leave the country. Cary went to Davao, in the Philippines. When the Pacific war broke out in December 1941, the Japanese took control of the Philippines. Cary  became a prisoner, interned first at Davao; then in December 1943 he was moved to the Santo Tomas Internment Camp in Manila. (This was on the campus of the present-day University of Santo Tomas.) Continue Reading »

Shakespeare’s Desk

Last spring, Professor Anston Bosman and I led a seminar on “Shakespeare and the History of Books.” Our seven intrepid Sophomores explored a wide range of readings and primary sources around that topic, much of which they documented in the course blog: https://blogs.ats.amherst.edu/colq-231-1314s/

Over the summer, several of our students worked on an exhibition that will be on display in the Archives & Special Collections for the whole of the fall semester. They took the title for their exhibition from an essay by Peter Stallybrass that we read for class: “Shakespeare’s Desk: Authorship as Material Practice.” This passage appears in the opening paragraph:

The plots of Shakespeare’s plays, like those of his fellow-dramatists, were drawn from his reading. It is extraordinary how little this simple fact seems to have impinged upon Shakespearean studies: Shakespeare’s writing developed out of his reading.

Although the Archives & Special Collections holds a respectable teaching collection of early modern printed books, including nearly 500 books and manuscripts created before Shakespeare’s death in 1616, the exhibition moves from a consideration of what Shakespeare might have read to explore how Shakespeare has been packaged for the desks of other readers over the past 400 years.

A fuller web-version of the exhibition is currently under construction, so I will use this post to highlight just a couple of items.

Illustrated editions of Shakespeare’s works are a fascinating topic, and this exhibition features two fine examples.

Caliban (detail) Boydell, 1852.

Caliban (detail) Boydell, 1852.

This detail of Caliban in “The Tempest” is taken from the large folio copy of The American Edition of Boydell’s Illustrations of the Dramatic works of Shakespeare by the Most Eminent Artists of Great Britain, which was published by Shearjashub Spooner in New York City in 1852.

A volume from our set of The Dramatic Works of Shakspeare (1791-1802), edited by George Steevens and published with illustrations that match those published as Boydell’s Graphic Illustrations of the dramatic works of Shakspeare. Here is the rendition of Caliban from that edition:

Caliban. Boydell, 1802.

Caliban. Boydell, 1802.

The complete history of John Boydell’s Shakespeare Gallery is a fascinating story. The Folger Shakespeare Library in Washington, DC mounted an exhibition titled “Marketing Shakespeare: The Boydell Gallery (1789-1805) and Beyond” in late 2007. The online version of their exhibition contains images of some of the original paintings Boydell commissioned for his Gallery and explores the printmaking process, among other things.

These two illustrations were selected for a different reason that ties them into the theme of Shakespeare’s Desk. “The Tempest” is generally regarded as a response, in part, to European exploration of North and South America. One of the cases in our exhibition features books representative of the information Shakespeare might have encountered about the “New World.”

Frontispiece from Ogilby's America (1671).

Frontispiece from Ogilby’s America (1671).

Although our copy of John Ogilby’s book America: Being the Latest, and Most Accurate Description of the New World (1671) was written long after Shakespeare’s death, it is the best example in our collections of an illustrated work of exploration. One goal of this exhibition is to suggest some ways that examining early books can open up new paths of research. Clearly, these three images suggest there may be something very interesting going on here. Deeper exploration of representations of Caliban as they relate to illustrations of “New World” inhabitants would require a visit to a library like the Folger.

Installation of this new exhibition will wrap up later this week. In addition to the works shown here, visitors will be able to see our copy of Shakespeare’s Second Folio, along with published books ranging from the sixteenth century to the present.

These last few weeks before the College is back in session are quiet around town with most of the camps finished for the summer and few students milling about.  Not like it was at the turn of the 19th Century.  Back then, and for nearly 25 years, summers in Amherst were home to a bustling and vibrant summer school of languages and one of the first schools in the country for librarians.



The Normal School of Languages

Dr. Lambert Sauveur founded the Normal School of Languages at Amherst College in 1877.  Sauveur was one of the first teachers in America to employ the natural method for teaching languages.  Now a common method for teaching and learning foreign languages, at the time the natural method (where all instruction is conducted in the target language) was considered a breakthrough innovation.

The Normal School was intended for but not limited to teachers.  Tuition for the six week course was on average $16 and the school attracted about 200 students a year.

Dr. Sauveur served as Director and a French instructor at the school  until 1883, when Amherst College French Professor W. L. Montague took over as Director of the program.  Sauveur returned as Director of the Summer School in 1895 and continued as Director until the school closed several years later.

Normal School of Languages, 1899

Normal School of Languages, 1899

Additional tidbit: Anna Leonowens, author of The English Governess at the Siamese Court (1870), taught Sanskrit at the Normal School of Languages in 1878.  More about this in Alfred Habegger’s recent biography Masked: The Life of Anna Leonowens.

from the 1878 Normal School of Languages catalog

from the 1878 Normal School of Languages catalog


The Summer School for Library Economy

Pince-nez clad W. I. Fletcher

W. I. Fletcher

The Summer School of Library Economy, begun in 1891, was developed  by William I. Fletcher, Librarian of Amherst College and a vice president of the American Library Association, in response to a growing demand for library instruction.  The Library School appears to have been considered a department of the Sauveur Summer School, as the Normal School of Languages came to be known.

The Library School was an intensive six week course intended for people already engaged in library work.  Fletcher instructed classes in “methods of doing library work, such as cataloguing, keeping records, etc.” and gave lectures on “absolutely practical subjects, such as methods of classification and cataloguing, the buying of books, making a library useful, etc.”  The library program could be taken either “as an extra in connection with the regular course of the Summer School, or as a special course by itself.”


In addition to classroom instruction and lectures, Fletcher provided the Library School students with field trips to visit regional libraries, including the Forbes Library in Northampton, the Boston Public Library, the Boston Athenaeum, as well as the Riverside Press, a book printing outfit in Boston.photo011

Fletcher continued to run the one-man Library School for fifteen years until his retirement from the position in 1905, at which time the Summer School for Library Economy was discontinued.


 The Amherst Summer Studentsummerstudent004

The students of the Summer School edited and published The Amherst Summer Student newspaper.

The Summer Student was published every Friday during the Summer School session and was “given up entirely to the interests of the School” with the “endeavor to become the printed representative of the School and all the enterprises connected with it.”

In addition to printing reviews of professors’ lectures, the Summer Student detailed many of the exciting happenings around Amherst, including picnics up Mt. Toby, informal dancing parties at Miss Heaton’s, pickup baseball games in Northampton,  whist club meetings, and excursions of all types.

summerstudent003The Amherst Summer Student of July 12, 1895 ran an article originally published in the Journal of Education that proclaims

Summer Schools: No longer a fad!  The Summer school is now as definite and permanent a factor in the professional training of teachers as the normal school…No teacher grows old in his work who devotes half of every summer to first-class vacation study and student companionship…The teacher’s opportunities for self-improvement to-day are so far beyond anything dreamed of twenty years ago, that he lives in another world.

See more in the Amherst Summer School Collection in the Amherst College Archives and Special Collections.

Initial AA Mellon-funded Five Colleges digitization project began last fall; its goal is to digitize and catalog the manuscripts (created prior to 1600) held by our institutions. The digitized versions will eventually be available through Digital Scriptorium, a database that currently provides access to more than 6,000 manuscripts held at more than 30 institutions.

Later this month, the images of the 24 manuscripts owned by Amherst College will also be accessible via ACDC. You can read a brief overview about these manuscripts here in Lisa Fagin Davis’ blog Manuscript Road Trip. For additional information about several of Mount Holyoke and Smith College’s holdings, check out Brittany Osborne‘s blog Mysteries in the Margins.

So here’s a little sneak preview:


Night at the Museum

Appleton Museum GuideWhen Millicent Todd Bingham and Richard Sewall wrote their biographies of Emily Dickinson, they each included a section about the influence upon the poet of President Edward Hitchcock and Amherst College. Bingham and Sewall sought to show that one can see in Dickinson’s poems – in her ideas, imagery, and unexpected vocabulary – the effect of Hitchcock and the college he helped establish.

The science cabinets at the College were among Dickinson’s Amherst-related influences.  They housed specimens of minerals, shells, fossils, and animals gathered by Hitchcock and his colleagues over the course of their careers and were important campus attractions.  Edward Dickinson, the poet’s father, contributed $50 to the Woods cabinet and $100 to Appleton, and his children were no doubt part of the thousands of people who visited them over the decades. There is evidence that Emily attended the opening of the Woods Cabinet (mineralogy, meteorology, geology) in the Octagon in 1848, and she probably also visited the Appleton Cabinet (zoology and ichnology) when it opened in 1855.

The Emily Dickinson International Society meets in Amherst this summer to walk in Dickinson’s town and gather together in the homes she knew, and to absorb as much of her world as possible. They won’t find the same science cabinets that Dickinson knew, but photographs from the collection can recreate something of what she saw.

The photographs below show the campus as it was in middle of the 19th century, as well as some of the exhibitions Dickinson would have seen when she visited the science cabinets and gathered the words and ideas that filled her thoughts and spilled onto paper.


1-College-Row-ca-1855-ambrotypeIn this photograph we see members of the first meeting of the Emily Dickinson International Society, who, ignoring the fact that Dickinson was just a self-professed “nobody,” convened at Amherst College to get a jump on Dickinson scholarship. The Woods Cabinet is next to the Octagon in the structure on the left; Appleton Cabinet, a new building at this time, is on the right. Johnson Chapel (middle of long row of buildings) also housed the early elements of the zoological and ichnological cabinets before they were moved to Appleton. Half-plate ambrotype by E. W. Cowles, ca. 1855.


Visitors Guide - 1862The Visitor’s Guide, published by President Hitchcock’s son Charles in 1862, provides a detailed list of the contents of the “public rooms and cabinets” as they were in 1862 as well as a general history of the collections. It’s still a useful document both for specifics about what was where and for a sense of how people understood and described the contents of the collections.


2-appleton-ca-1855-ambrotypeThe new Appleton Cabinet, housing the Hitchcock Ichnological Cabinet and the Adams Zoological Cabinet. Half-plate ambrotype by E.W. Cowles, ca. 1855. At least one of the rocks outside the entrance appears to have a fossil track in it – see detail below. The man entering the building on the right carries something under his arm – perhaps more specimens.



3-Appleton-ambro-entrance-detailA track in the rock at left, and what looks like striation in the rock at right. The track on the left looks to this amateur like the 14-20” print of “Brontozoum giganteum,” examples of which Appleton apparently had in abundance.



5-Appleton-Cab-exterior-detailA slightly later (ca. 1865) photograph shows that the rocks in the earlier photograph have been removed, the track probably to the interior of the building and the striated rock perhaps to the area around the “Ninevah Gallery” near the Octagon, which still has an arrangement of boulders near the one moved by the Class of 1857.

7-Appleton-Cab-Register-cover“[Natural history cabinets] deeply interest and instruct the community surrounding a college, and all who visit it, and thus give reputation to it…almost every one will see enough in nature’s products to awaken interest, inquiry and admiration. This explains the fact that as many as fifteen thousand visitors annually have registered their names in the Amherst Cabinets, small and retired as the place is.” (Edward Hitchcock, “Reminiscences of Amherst College,” p. 112).

8-Appleton-Cab-Register-1st-pgsThe Appleton Cabinet register commences in March, 1859. So far, Emily Dickinson’s signature has not been located in this large book (Jay Leyda searched it in the 1950s), but there are many other interesting signatures.
9-Appleton-Cab-Register-Nickleby-et-alAmong the famous people who visited Appleton are Nicholas Nickleby, Smike, and members of the Squeers family. It is not clear whether Oliver Twist was part of their group or visited on his own.

10-Appleton-Cab-Register-Smith-et-alJoseph Smith and 12 ladies (Smith, who had been shot dead in 1844, evidently returned from the celestial kingdom to visit Appleton)

11-Appleton-Cab-11-1-1861Dickinson’s friend Kate Turner and Kate’s friend Gertrude Vanderbilt visited Sue Dickinson in the fall of 1861. There is no record of whether they also saw the poet, who was experiencing a personal crisis at this time – her “terror since September,” as she described it the following spring.


16-AppletonThe Ichnological Cabinet in Appleton was Edward’s Hitchcock’s great joy. He described the history of his collection in his “Reminiscences” and his son described it in the Visitor’s Guide above: “Great care has been taken by the position of the tables, sometimes horizontal and sometimes inclined, and especially by the position of the large slabs on their edges, to make the light fall on them most advantageously….The main principle of the arrangement was to place the specimens so that the light should fall obliquely upon their faces.” (Guide, p. 57) Visible in this photograph: “Near the middle of the room there is suspended from the ceiling the leg of the great Moa, or dinornis, lately discovered in the alluvium of new Zealand, where it may have lived within a few hundred years. The two upper bones, the femur and the tibia, are wooden models of bones in other cabinets. But the lower piece, the tarso-metatarsal and the foot, excepting three of the phalanges, are true bone, from New Zealand. Not far distant hangs the model of an egg of a still larger bird, the Aepyornis, from Madagascar; the original of which is in Paris.” (p. 67)

12-Adams-Chas-B-AC1834-Whipple-crystalotypeCharles Baker Adams, Class of 1834, and a man obsessed with science, especially conchology and entomology. Adams gave the bulk of the specimens for the Zoological Collection while it was located in the Chapel and then the Woods Cabinet but didn’t live to see it gathered in Appleton. In 1852 despite ill health, he insisted on a return expedition to the tropics and could not be dissuaded, even by the discouragement of the trustees of the College. “He went, and stopping at the hospitable residence of a friend in St. Thomas, was advised to keep within doors till the yellow fever had subsided. But his love of science set at nought the suggestions of prudence, with the remark that there was no fever among the shell fish, and a little exposure brought on the fever of which he died.” (Reminiscences, p. 96-7)

At the opening of the Woods Cabinet in 1848, Adams said: “The efforts of naturalists to exhibit the true order of nature, can never fail to gratify a correct and refined taste. Such order is of far higher origin than mere human invention, and is so perfect as to harmonize no less with our emotions of beauty than with our ideas of fitness and method. It is indeed one of the most delightful features of science, that the farther she advances in a correct knowledge of nature, the more systematically and harmoniously are all the powers of the intellect and the emotions of beauty and virtue gratified and invigorated. Nor can the lesson of humility be lost on the lover of science, since his highest efforts consist only in the discovery and exhibition of a beauty and perfection, which not only does not originate in him, but which extends far beyond the most distant flights of his imagination.” (Guide, p. 111) Imagine the effect of these ideas on Dickinson, who is thought to have been at the ceremony.

After Adams’s death, another well known Amherst man, William S. Clark, took over the zoological collection and was responsible for many of the specimens of large mammals seen in the pictures below.

12-Appleton-Cab-interiorThe Adams Zoological Cabinet in Appleton: “The first thing that attracts the attention of the visitor is the paintings upon the walls. Upon the west end of the room is represented an elephant, in the mist of tropical scenery; It appears to best advantage when viewed from the east end of the room…” (Guide, p. 86)

13-Appleton-Cab-interiorRegarding the mammals case, “Upon the third shelf the variety is greater.  Here may be seen the skulls of many small animals; the teeth of many more, such as the whale, camel, elephant, and hippopotamus; the tail of an elephant, the skin of a rhinoceros; feet of a bear; skulls of monkeys; daguerreotype of the Aztec children, etc.  Upon the upper shelves of this and the next case will be seen models of the heads of men distinguished for good or bad qualities, by the side of the heads of various wild and domesticated animals.  These specimens were designed to illustrate phrenology…. Commencing at the right-hand side of the long case at the west end of the room, one sees first some monstrosities.  One is a very fine specimen of a double calf….  Another is a double-headed lamb, and the third is a calf possessing a rudimentary porcine snout.  Next is a fine panther, called also American cougar, catamount, and Indian devil.  It is one of the cat tribe.”  (Guide, p 93-4)

14-appleton-interiorLooking east, “so, too, the representations of Arctic scenery, and of a western buffalo hunt, over the stairs, appear best from the west end of the room…” (Guide, 86)


15-Appleton-interior “Inside the large glazed case, near the stairs, is a representation of the scenery of a Northern winter, in which a moose is located. When this painting was executed, only a solitary moose occupied the case; but now, since the accumulation of specimens, the scene is not so appropriate.” (Guide, 87)


Appleton-Zool-Cab-north-wall-ca1870-detail-007“Upon the north side of the room are represented a South American anaconda attempting to ‘charm’ a parrot, and the huge African ape, the gorilla, the nearest approach of the animal kingdom to man.” (Guide, 86-7)


17-Appleton-Gorilla“Several important specimens have recently been received for the Zoological Museum….  Among them are the stuffed skin and skeleton of the African Gorilla, presented by Rev. Wm. Walker, of Gaboon, West Africa.  No other cabinet in the country, at this date, is so largely represented by specimens of this animal.  It being the nearest approach of the animals to man, these specimens have attracted great interest, particularly as they so clearly show the falsity of the notion that the gorilla could ever have changed into man by the ‘law of selection.’  The skin was stuffed by Jillson of Fentonville, and the skeleton mounted by my oldest son.” (Reminscences, p. 95)


When I envisioned this post, I thought I would write about one item in particular, our daguerreotype of the “Aztec children” who toured with P.T. Barnum in the 1850s. However, Maximo and Bartola, the microcephalic children from San Salvador, received full treatment in a nice blog post from a few months ago. I like to consider that Dickinson probably saw this daguerreotype in Appleton (west end!), even though you would seek in vain for “Aztec children” or “microcephalic” in her poetry or letters. 18-Aztec-children-dag-top-half19-Maximo-Bartola-ca1851-600dpiOur daguerreotype was most likely a purchase by Professor Adams during the visit to Boston by Barnum’s circus in late 1850-51. The daguerreotype, perhaps one of many sold during the tour, was taken by Beckers & Piard of New York, ca. 1850. The half-legible inscription (in Adams’s hand?) pinned to the velvet liner says: “Aztec Children. The boy weighs 20 lbs; is supposed to be about 15 years old. The girl weighs 17 lbs; is supposed to be about 12 years old.” The rest is frustratingly illegible, even in Photoshop.


Hitchcock said of natural history collections in colleges devoted to a liberal education, “they are indispensable to give students a knowledge of the natural productions of different parts of the earth, and without which, their views would be narrow, and they would be liable to constant blunders in their literary productions” (Reminiscences, 111). Visitors today should attend the cabinet called the Beneski Museum, a facility and collection that would make Hitchcock and his colleagues proud and provide inspiration for poets of all stripes.

Wandering through our stacks the other day, my eye was caught by a small collection of paperbacks with bold modernist cover art and the intriguing publisher “Paper Books” listed on the spine.

The Masters of the Day of Judgement Continue Reading »


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