Antiquarian Bookshops Research Articles

Teki Bartynowskiego, czyli Materyały do ikonografii królów, zbroi i wojska polskiego

Bartynowski’s Papers Materyały do ikonografii królów, zbroi i wojska polskiego Władysław Bartynowski was a famous and remarkable numismatist active in Cracow at the end of 19th and the beginning of 20th century. In fact, he was a collector of various interests. Since early adulthood he used to collect old prints on various topics, including portrayals of famous Polish historical figures, coats of arms, old prints front pages, front page decorative frames etc. In 1882, the collection contained already 4200 units and it was not the end of his activity as a collector. Bartynowski used to work as an antiquar- ian so apart from the prints he owned, many more passed through his hands. He used to purchase them, sell and exchange. After some time, he became very well acquainted with this kind of works. The copies he produced were often so perfect that modern connoisseurs are sometimes unable to distinguish them from their originals. A piece of the collection was donated to the National Museum in Krakow. At the end of his life, Bartynowski decided to publish a collection of prints to serve educational purposes for those who had no access to the originals. To this end, he hired a talented drawer, Karol Wawrosz, who arranged tables of prints redrawn by him or otherwise copied from originals according to their subject. The basis and source for these catalogues were the collections gathered throughout many years as well as Władysław Bartynowski’s knowledge. This is how the work titled “Materyały do ikonografii królów zbroi i wojska polskiego” came into being. It consists of three big files titled Portrayals of kings, Army and Weapons and a notebook titled Materials containing detailed descriptions for tables and drawings. The work was published in print in 1908. It is in black and white, however a part of the volume was extra painted in watercolour by Bronisława Uhmowa, Władysław Bartynowski’s daughter, which add to the beauty of this work. Currently, the Bartynowski’s Files are available in a few libraries but only the black and white version. The paper presents the files in colour based on the copy from the family archive. Individual boards from these files, including the coloured ones, are sometimes to be found in antiquarian bookshops. Unfortunately, due to the lack of proper information on individual pages, they are commonly called the Wawrosz Files.

Starodruki i rękopisy związane z Józefem Wybickim w zbiorach Biblioteki Naukowej PAU i PAN w Krakowie

Old prints and manuscripts related to Józef Wybicki in the Scientific Library of the PAAS and the PAS in Cracow collections In relation to the announcement of the Polish Sejm made on 14 October 2021 that one of the patrons of the year 2022 shall be Józef Wybicki (1747–1822), a politician, poet, play-writer and the author of the Polish national anthem, we decided to make a review of the keepsakes after him gathered in the Special Collections of our Library. As a result of a broad query, one hand-written letter has been found, written by Wybicki to Hugon Kołłątaj on 2 June 1810. The other nine groups of manuscripts contain either copies of Wybicki’s works or notes and texts related to him, gathered by 19th and 20th c. researchers, and finally an interesting motion to set up a monument of Wybicki, funded by private contributors, submitted in 1904 by Stanisław Witkiewicz. These scriptures are not consistent with each other as they are pieces of some greater manuscript legacies. Eight of them come from different donors, two were purchased in 1958–1960 in antiquarian bookshops in Cracow. They are of marginal significance as far as the research of Wybicki’s achievements is concerned. What was much more interesting, were the results of an old prints query. The Wybicki’s literary legacy is represented by thirteen 18th c. titles and three from the beginning of 19th c., bearing twenty two shelf marks. This vast amount of keepsakes related to Józef Wybicki results from Cyprian Walewski’s testamentary legacy, from which sixteen shelf marks come. Some of the political scriptures assigned to Wybicki have been published anonymously, therefore the question of their authorship remains open. The overview of publications is presented in chronological order. First three works come from 1870s and are related to the beginnings of Wybicki’s political activity to support king Stanisław August, by counsellor Andrzej Zamoyski’s side, and discusses the necessity of social and political changes in Poland. As this project failed, in year to come Wybicki backed out from politics and devoted himself mostly to writing plays, which are represented by one comedy and three operas. The works from the last decade of 18th c. show Józef Wybicki as a person who was active wherever the issues most significant for Poland were decided. These are political scriptures from the period of the Four-Year Sejm, an appeal issued in Warsaw during the Kościuszko uprising and a brochure in French issued in exile in Paris after the Third Partition of Poland. Wybicki’s lesser known interests are represented by a geography textbook published in 1811, containing one of the first descriptions of the geography and economy of the Duchy of Warsaw. The last writing to be discussed includes Wybicki’s views on political systems, which was published three years before his death. Although these sixteen pieces constitute only a part of Wybicki’s work, they seem to well represent its character as well as illustrate the author’s interests and his patriotic engagement.

Rękopisy i pamiątki po Marii Konopnickiej w zbiorach Biblioteki Naukowej PAU i PAN w Krakowie

Manuscripts and keepsakes after Maria Konopnicka in the Scientific Library of the PAAS and the PAS in Cracow collection On the occasion of proclaiming Maria Konopnicka one of the patrons of the year 2022, the manuscripts and keepsakes after her gathered in the Scientific Library of PAAS and the PAS in Cracow will be presented. The collection contains the poetess’s 48 hand-written letters addressed to i.a. Teofil Lenartowicz, Stanislaw Tomkowicz and, also to Józef Tretiak and Adolf Pawiński, which until now remained unpublished. Apart from the correspondence, the Library collection includes also 23 shelf marks related to Maria Konopnicka. These are among others some writings regarding her literary activity as well as poems and their copies prepared by i.a. a famous painter, Bronislawa Rychter-Janowska. Worth to pay attention to are also three photographies of the poet included in the collection. The documentation of a monument designed by Janina Reichert-Toth, planned by the Lviv city authorities to commemorate Maria Konopnicka but which failed to be built due to the outbreak of World War II, has been preserved. The vast majority of works related to Konopnicka were donated to the Library, only some were purchased in antiquarian bookshops.

Efficiency of antiquarian bookshops in informationally complete markets

Efficiency of antiquarian bookshops in informationally complete markets

Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. ed. by Eva Neumayr und Lars E. Laubhold

Reviewed by: Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. ed. by Eva Neumayr und Lars E. Laubhold Andrea Lindmayr-Brandl Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. Bearbeitet von Eva Neumayr und Lars E. Laubhold unter der Projektleitung von Ernst Hintermaier, RISM Arbeitsgruppe Salzburg. Wien: Hollitzer Verlag, 2018. (Schriftenreihe des Archivs der Erzdiözese Salzburg, 17.) [xx, 952 p. ISBN 978-3-99012-509-0 (hardcover) €145.00; ISBN 978-3-99012-511-3 (e-book) €124.99] It does not happen very often that a research project is rooted in a crime case. An earlier article in this journal (Hans Spatzenegger, 'Entwendete Musikalien aus dem Besitz des Domchors in Salzburg', Fontes Artis Musicae 25, no. 2 [April–June 1978]: 152–156) reports that about 600 music books and scores were stolen from the Salzburg Cathedral archive in the 1960s. Although most of the objects could be traced and restored, the list of still-missing items, given in the appendix with the hope to identify them in antiquarian bookshops or auction catalogues is impressive. As a consequence of these events, the whole library was transferred to the better secured and better equipped archive of the archdiocese of Salzburg (Konsistorialarchiv), and a cataloguing process of the collection started. Financed by the Austrian Science Fund (FWF), detailed bibliographic data based on a former card index have been integrated into RISM between 2007 and 2014. The research group responsible for this, the so-called RISM Arbeitsgruppe Salzburg, consisted of Ernst Hintermaier, an expert on music history of the Salzburg court chapel, and his two collaborators, Eva Neumayr and Lars E. Laubhold. The present catalogue is an edited offprint from the RISM database. The catalogue lists all items with the shelf number A in the Dommusikarchiv that are mostly manuscript parts of the Salzburg court [End Page 372] chapel and other local ensembles active at the Cathedral up to 1841, the founding year of the Dom-Musikverein and Mozarteum. The oldest manuscripts in this collection stem from the second half of the seventeenth century, a continuous transmission starts a hundred years later, in the second half of the eighteenth century. The collected repertoire comprises works by Heinrich Ignaz Franz von Biber, Johann Ernst Eberlin, Leopold Mozart, Wolfgang Amadeus Mozart (twenty-six entries, several parts with notes by him and his father's hand) and Michael Haydn, the so called 'Salzburger Haydn'. It documents the music performance practice embedded in the liturgy of the Salzburg Cathedral. The catalogue is primarily organised according to composers and their works in alphabetical order and provides a detailed description of 2,838 items. It starts with Adlgasser and ends with Wölfl, with 'Anonyma' added at the end. In addition, thirty-five manuscript collections relating to works that are already listed in the composer/work section are designated with individual numbers. The last sixty pages of the book are most important for the practical use of the catalogue. They contain registers for titles and text incipits, names of persons involved, shelfmarks, and watermarks. When cataloguing began, problems with work identities occurred, specifically in music consisting of several movements. For example, vespers could be understood as a cycle of numbers, including the four psalm settings at its centre. In many cases, however, the first and last piece, Dixit Dominusand Magnificat, are interpreted as individual works. The editors of the catalogue based their decision on the physical state of the source material: where the numbers are notated together within a single part, it is considered as one work with several movements; where the numbers are copied in individual sets of parts, the material counts as a collection. This practical procedure is perfectly understandable when sorting the musical sources and having the material in hand, but it leaves a feeling of inconsistency when one considers concepts and organisation of musical works in larger dimensions. This general problematic issue is addressed by the current discussion about norm data for works. While norm data for persons and places are already available (GND in German-speaking countries, VIAF international), the development of norm data for musical works is an ongoing project with high priority for library...

Budai reneszánsz kötéstáblából előkerült ősnyomtatvány-töredékek

The National Széchényi Library bought Desiderius Erasmus’ famous work, the Institutio principis Christiani printed in Basel in 1516 by Johann Froben at an auction organized by the Borda Antiquarian Bookshop in 1994. Erzsébet Muckenhaupt has demonstrated that this book was bound in leather in the same bookbinding workshop as two early 16th century Hungarian-language manuscripts, codices Lányi and Apor. The Erasmus volume was restored and fragments of prints were discovered in its binding in 2004. In the first part of the paper, I present the bibliographical data of the host book and of the six print fragments used as binder’s waste. In the second part of the study, I analyse the six works from the point of view of content and form. I try to find out whether the fragments are related somehow, from where the bookbinders acquired them, and whether the fact that the publishing of three of the prints used as binder’s waste was connected to the booksellers of Buda is more than mere accident. In answering these questions, I resort to the content analysis of the volumes which were bound at the same place as the Lányi Codex in order to find out more about the bookbinding workshop where the analysed fragments were used as binder’s waste. All these suggest that the group of volumes related to the Lányi Codex with regard to their binding were bound in a workshop operated by or in close contact with the booksellers of Buda.

The Provenance of Selected Sheet Music of Warsaw Publishers (1875-1918) in the Main Library of the Stanisław Moniuszko Academy of Music (Gdańsk)

Owing to the presence of numerous Warsaw artists coming to Gdańsk in the 1920s, the city (and even the entire Tricity area) gained significance as a new Polish music cultural centre. The culture immediately gained the status of high culture due to dynamically developing music education, which had not collapsed even in the face of the outbreak of World War II. Despite excellent cultural conditions, musical activity with regard to publishing sheet music was at the other extreme. Basic Polish music literature was not available in the library of the State High School of Music (established in 1947), therefore, in order to study the students used the sheet music gathered by the lecturers, who would purchase them in Warsaw antiquarian bookshops, selecting the best publications. At present their history constitutes valuable material for provenance and musicological research, mainly due to the proprietary marks and personal notes in the documents.

Esmond Bradley Martin, 1941–2018

Esmond Bradley Martin (17 April 1941 to 4 February 2018) was an American geographer who, through extensive fieldwork in Asia, was an authority on the traditional uses of rhino products. He carried out pioneering work from the 1970s investigating the illegal rhino horn and ivory markets to help close them down and save rhinos and elephants. He had been the United Nations Special Envoy for Rhinos in the early 1990s and, in the 2000s, he worked in dangerous markets surveying endangered wildlife commodities for sale. His work helped China ban their domestic rhino horn trade in 1993 and their ivory trade in 2017. Esmond was essentially an optimist, believing that with committed leadership, proper law enforcement and effective management, wild populations of rhinos, elephants and other species could flourish in their natural habitat in Africa and Asia. Born in New York City, Esmond had the most enquiring and persistent mind, always questioning well informed people. His interests ranged from opera, 18th century French furniture and paintings, to travelling and learning about different cultures and demand for endangered animals. From Brooks School in Massachusetts, he went to the University of Arizona receiving a BSc in Agricultural Economics in 1964 followed by an MA for his thesis “The rural land use of Kenya.” In 1971 he completed his PhD in Geography at the University of Liverpool on “The development of Malindi from the Portuguese period to the present.” While in England he collected Africana, enjoying visits to Maggs and other antiquarian bookshops, absorbed by the writings of early explorers in Africa, particularly admiring Burton. He had first been to Africa when he was 18 with his brother on a hunting safari to the Congo, which gave him his initial taste of adventure in Africa. In 1972 he and his wife Chryssee made Kenya their home, living near Nairobi National Park in Langata where he was to be tragically murdered 46 years later. The dhow trade was his first passion, exploring many of the Indian Ocean ports. He wrote Cargoes of the East: The ports, trade and culture of the Arabian Seas and West Indian Ocean in 1978 (reprinted in 2008) and Zanzibar: Tradition and revolution in 1978 (reprinted in 1992 and 2007). From this, he learned about huge quantities of rhino horn smuggled from Africa into North Yemen to make into handles for traditional daggers (jambiyas). The Saudi Arabian oil boom brought wealth to many in North Yemen in the 1970s. This was at a time of civil wars, corruption and mismanagement in much of Africa where rhinos were slaughtered and wiped out from much of their range to meet this demand. He worked tirelessly to close down this market. From 1971 to 1991 Esmond investigated the international trade in rhino products in Africa and Asia. His position as Special Envoy for rhinos for the United Nations Environment Programme in 1992 and 1993 helped to curb the poaching crisis and illegal trade in rhino horn at that time. From the late 1990s he investigated the world's ivory markets, supported mainly by Save the Elephants, and continued to monitor the rhino horn trade for the Aspinall Foundation. His final fieldwork was in Myanmar in December 2017. Esmond's main publications included Run rhino run (Chatto & Windus 1982) written with his wife. Later he co-authored a series of monographs on the ivory trade with Daniel Stiles or myself. Esmond kept copious notebooks and wrote prolifically, always with a fountain pen, producing over 30 books and monographs and more than 350 articles. For many years Esmond was on the Boards of the Kenya Museum Society and the East African Wild Life Society, and selflessly helped with their respective publications, Kenya Past and Present and Swara. He was also a dedicated editorial board member for Pachyderm, the journal of the IUCN SSC African Elephant, African Rhino and Asian Rhino Specialist Groups (and was a member of all three Groups). He believed in “widely disseminating information.” He was often interviewed by the media and advised several wildlife documentary film makers. Such films included “The Rhino War” documentary by Westinghouse TV USA in 1982, National Geographic's “The Rhino War” in 1988, and the BBC TV's “Ivory Wars” in 1989, 2000 and 2012. Esmond was a member of the Association of American Geographers, American Geographical Society, Explorers Club New York, Royal African Society, UK African Studies Association and UK's Fauna and Flora International. He received the Order of the Golden Ark from Prince Bernhard of the Netherlands in 1986, and he was a Chartered Geographer awarded in 2003 by the RGS-IBG. He was a life Fellow of the RGS-IBG and an ardent supporter.

The secondary book market in Poland

The text is a concise outline of the functioning of the secondary book market in Poland, which was shaped on the basis of the network of public and private secondhand bookshops, which operated before 1989. This market includes the institutions and processes that are linked to turnover of already produced and introduced at least once in trade assortment of antiquarian bookshop, or otherwise – any library materials that have been previously sold or issued by the widely understood manufacturer. Although most of the objects that are the subject of this trade are books, but next to them the same product range includes all library materials, also manuscripts, official documents etc. Today, the market is developing in three areas – stationary institutions (antiquarian bookshops), extramural (booksellers and other forms of occasional trade) and the Internet. The analysis of those phenomena was based on press reports and the Internet, broadly defined market offer observations, and interviews with the participants, carried out through several years, especially in the period of 2012–2015, when I made a research program NCN no. 2011/03/B/HS2/03908.

Provenance as a bibliophilic value (case study)

The aim of the article was to verify the hypothesis that the provenance, which manifests itself at the antiquarian auctions in the form of bookplates, supralibros, stamps, written records, etc. is an important element of attracting attention of book collectors, affects their purchasing decisions, and is measurable. To verify the validity of this assumption, an analysis was made of the assortment of one of the largest Polish scientific antiquarian bookstores - Cracow's Rara Avis Antiquarian Bookshop. Empirical base formed a non-random trial research which considered 30557 descriptions, that is approx. 41% of the whole assortment. The results of analyses confirmed the established hypothesis, because the proportion of objects marked with provenance was high (averagely 31.2%) and stayed on the same level throughout the studied period (21,1-44,2%.). In the course of the analysis it was established that the test object type most often comes from private collections (82.4%), and the dominant categories of marks are: seals (36.7%), the signatures of ownership other than authorial (19.6%), notes of ownership (10.5%), ex-librises (9.8%) and authors dedications (8.7%); but far fewer works contain the signatures of the authors (4.0%), dedications different than authorial (3.7%); the rarest ones are supralibros (only 1.7%).

The Composer as Pole Seeker: Reading Vaughan Williams's Sinfonia antartica

It is a commonplace of history that we do not encounter events from past, but rather descriptions of these events. To be more contemporary, and perhaps more accurate, we encounter spins on events. While a kind of precise objectivity based on careful duplication of experiments may be prized by hard sciences, most historians today do not believe that such things as the past or culture will yield to such treatment. Indeed, more we seek to pin down an event, to argue for a document's authentic privileging, more any kind of objective truth may recede, to be replaced by yet another false front. It is, of course, not necessarily facts which are in doubt in a particular case, but how they are assembled, organized and presented. The reality of past, if it appears to us at all, does so through what some have called convergence of evidence, and always requires a leap of faith on part of any investigator or beholder. If this is true of history in general, it must also be true for written history of polar exploration, something which, surprisingly, has captured imagination of reading public. Twenty years ago it was difficult to find classic works of genre outside of an antiquarian bookshop; today bookshops are overflowing with paperback reprints. Thanks to Roland Huntford and others, authoritative biographies are available for such pio­ neers as Fridtjof Nansen, Ernest Shackleton, Robert Scott, Roald Amund­ sen, Robert Peary and Frederick Cook. The title of classic misadven­ ture chronicle, Apsley Cherry-Garrard's recently reprinted The Worst Journey in World, hints at appeal of this collective hoard of volumes, and a host of others on catastrophic journeys. Sitting in our warm homes, computers buzzing, these harrowing tales are like ghost stories around fireplace, reminding us of our own comforts and teaching us lessons of heroism and bravery. Some stories, however, tell better than others, and there has always been a tension between desire to write history and storytelling urge, where requirements of crafting a good yarn do battle with desire to get it right. We shall argue here that same is true when we attempt to understand music and musical meaning. As we take this journey, our guide will be a work set, as it were, in cold deserts of Antarctica, a piece that has had something of a mixed reception from audiences and critics-a possibly ambivalent symphony about an ambiguous hero.

A lunatic and a murderer or Berkeley-Hill′s machine-gun

Byline: Alok. Sarin, Sanjeev. Jain As an introduction to the section "From the Archives," we present an excerpt from Owen Berkeley-Hill's book "All Too Human: An Unconventional Autobiography", [sup][1] an interesting early account of attempts towards the rehabilitation of those with mental illness. The excerpt reproduced here speaks for itself. We would here like to acknowledge the generosity of two people. One is Dr. S. Haque Nizamie from the Central Institute of Psychiatry, Ranchi, in sharing with us a copy of this book, which has sadly been out of print for many years. This was, in many ways, appropriate, as the Central Institute of Psychiatry is the present avatar of the European Mental Hospital in Kanke, Ranchi, which Colonel Berkeley-Hill writes about. The other is the historian Ramachandra Guha, who located a copy of the book in an antiquarian book shop many years ago, and kindly presented it to one of the authors of this piece. EXCERPT The essence of psychiatry is contained in two lines of Shakespeare: "Fetter strong madness in a silken thread, Charm ache with air and agony with words." In 1920, owing to so-called "political unrest," those who considered themselves responsible for the maintenance of peace and goodwill in Ranchi got somewhat rattled. Measures - of sorts - were not only discussed but in part actually taken to save British lives from mob fury. The Ranchi European Mental Hospital was provided with a machine-gun. I am doubtful about the provision of any ammunition for it; probably this was overlooked. Anyhow, I was tickled to death by the present and began to look around for an operator for the gun. It just happened that at that particular time I had a soldier patient who had in a moment of mental abstraction shot dead a comrade. That he had displayed numerous symptoms of being off his head before the occurrence of this unfortunate episode had escaped the notice those officers of the R.A.M.C. in whose particular charge lay his well-being. But let that pass. He was the most attractive young man and fully contrite for the crime he had quite inadvertently committed. He had a wonderful war record and possessed the Military Medal (Authors note: This was one of the 77 medals awarded to the regiment in the First World War for service in France and Flanders [sup][2] ). Among other things, he was an expert machine-gunner. I appointed M. to the post of Officer Commanding machine-gun. Shortly afterwards the General Officer Commanding, Presidency and Assam Brigade, came to Ranchi and paid the hospital a special visit. He was particularly anxious to ascertain on what sort of terms we were with the machine-gun, which had been issued to the hospital particularly because it was an unusually good one. I gave orders for the weapon to be assembled and produced, and the patient M. to appear and give a demonstration. In due course, the gun appeared, in prime condition because M. cherished it. "I congratulate you, Major Berkeley-Hill," said the General, "on the excellent manner in which you keep your machine-gun. Is there any member of your staff who thoroughly understands how to manipulate it?" "Well, sir," I replied, "I have a man here who was an expert machine-gunner in the war and to him I have entrusted the charge of the gun." "Very right and proper, Major Berkeley-Hill. You are lucky indeed to have someone on the spot who understands a machine-gun. Is he here, for I should like to meet him?" I called out: "M., step forward the General would like to speak to you." M., observing every recognized item of military punctilio, stepped forward and saluted. The General cast his eyes over M., who presented, as always, the most satisfying appearance and said: "What was your unit in the War?" "Argyll and Sutherland Highlanders, sir." "How did you come to be in this place?" enquired the General. …

Neurosurgical contributions of the Swiss surgeon, Rudolf Ulrich Krönlein—A further pioneer in Swiss neurosurgery

IntroductionIn an earlier contribution, the authors reported about theoutstanding neurosurgical activities and publications of theSwiss surgeon and Nobel Prize laureate, Emil TheodorKocher (1841–1917), with special emphasis on his percep-tions in the fields of epilepsy and tumour surgery [12].Furthermore, his methods in spinal surgery and his theorieson raised intracranial pressure (ICP) were appreciated [9,12].Many Swiss surgeons have made important contributionsto neurosurgery throughout history. However, few havemade such important contributions as those of the Swiss-born pioneer/surgeon, Rudolf Ulrich Kronlein (1847–1910).The aim of this article therefore is to introduce Kronlein'sbiographical information and scientific contributions to theneurosurgical society. Furthermore, the authors discuss sim-ilarities of the German-speaking surgical generation of thistime and draw conclusions concerning our role in medicalenterprises today.MethodsA recapitulation of Kronlein’s biographical information andoutline ofhis relevant neurosurgicalpublications are derivedfrom his articles cited in this essay. The literature researchwas strongly supported by the team of the antiquarian book-shop, Sohn (Marburg, Germany).ResultsBiographical informationKronlein was born in Stein am Rhein (Switzerland) on 18February 1847. He went to secondary school in Schaffhau-sen and started his medical education at Zurich University in1866 [33]. During the winter term in 1867, he carried out aninternship with the anatomist Hermann von Meyer (1815-1892). In 1868, Kronlein attended Bonn University in Ger-many for a semester. In 1870, he successfully passed thestate medical examination in Zurich. Kronlein earned hisdoctorate on the open treatment of wounds (“Die offeneWundbehandlung, nach Erfahrungen aus der chirurgischenKlinik zu Zurich”) while working for the German surgeonEdmund Rose at Zurich University in 1870–1873 [16]. Inserving as a military surgeon in 1870–1871 during theFrench-German war, Kronlein followed his teacher Roseto Berlin. Here, Kronlein worked at the military hospitalTempelhofer Feld, which was administrated by RudolfVirchow (1821–1902). On the basis of Virchow’s recom-mendation, Kronlein continued his residency as an assistantfor Bernhard von Langenbeck (1810–1887), director ofsurgery at the University Clinic Charite in Berlin, Germany,in 1874. Beginning in the winter of 1878, Kronlein wasasked to be the deputy head of the surgical clinic at GiessenUniversity in Germany for a year. For this, he was appointedassociateprofessor bytheHessianministery.After his returnto Berlin, Kronlein was asked to organise the reconstructionof the royal clinical centre (Ziegelstrasse, Berlin). In 1881,his mentor Rose was elected as head of the BethanienHospitalinBerlin,andvonLangenbecksupportedKronlein’sappointment as professor and head of the surgical UniversityClinic in Zurich. He held this position for almost 30 years(1881–1910) (Fig. 1). His main surgical interests were:

Ground zero: Nicholas Rothwell's natural history of destruction

In Wings of the Kite-Hawk (2003) and The Red Highway (2009), Australian travel writer Nicholas Rothwell describes his visits to a series of archives – libraries, memorials, history and natural history collections, art galleries, and antiquarian bookshops – in his quest for evidence of the great catastrophes of the nineteenth and early twentieth centuries: these include the ongoing contact between European and Aboriginal Australia, the apparent extinction of traditional Aboriginal languages and cultures, desertification and the mass extinction of species, and that great engine of twentieth-century destruction and dispersal, the Second World War. In this paper I examine the role of the archive in Rothwell's writing by comparison with the work of German-born novelist, W.G. Sebald. In The Rings of Saturn (trans. 1998), Sebald uses the image of debris held in Saturn's gravitational field as a metaphor of the evidence of historical catastrophe, especially the great caesura of the Second World War and the Holocaust. In comparing Sebald and Rothwell, I examine Rothwell's sense of history: are the Second World War and the European colonisation of Australia singular events or part of an ongoing ‘natural history of destruction’? In examining the ethical implications of comparing these historical traumas, the article draws upon Dominick LaCapra's distinction between absence and loss, which has been influential both in work on the Holocaust and on reconciliation and the Stolen Generations in Australia.

Discovering the Italian Traditions of Eudora Welty’s Works

Discovering the Italian Traditions of Eudora Welty’s Works Maria Sciacco Reading the cultural pages of one of the most important Italian newspapers, Il Corriere della Sera, we realize the high position of American literature in Italy. Names such as Roth, DeLillo, and Bellow among many others are in the Italian magazines and newspapers almost every week. That these writers are not new to an active Italian reader demonstrates that the Italian publishers are interested in American writing. In November 2001, the magazine Sette published an article about a new trend of the Italian publishers, announcing, “Faulknermania has broken out” (Guarini 132). The journalist, Ruggero Guarini, explains that the most important Italian publishers such as Adelphi, Einaudi, and Bompiani have devoted their recent efforts to re-promote Faulkner in part due to the difficulty of his work. Faulkner is the most enigmatic writer of the twentieth century, and paradoxically that is also the reason why, according to Guarini, there are few Italian readers of Faulkner. And although the number of readers is unlikely to increase after the new wave of publications, the aficionados of Faulkner’s work will persist. Even with few readers, Faulkner maintains a prominent position in the Italian editorial market and in the Italian academic world. Unfortunately, the academy has not paid the deserved attention to another important Southern writer, Eudora Welty. In fact, in Italy her name is still unknown to the majority of the readers. Her works are restricted to a limited group of literary scholars and to people who love American literature. Until the academic elite promote Welty’s works, the publishing houses won’t put more effort (and above all, money) into the publishing of her books. At this time, the only book by Eudora Welty that an Italian reader can find in the bookshops is Primo amore (First Love) in two editions: Guanda, 1990, and Tea, 1994. Both of these are reprints of Vezio Melegari’s 1947 translation. The Robber Bridegroom, The Golden Apples, and The Optimist’s Daughter are still not translated into Italian.1 This is the unfortunate situation of Welty’s art in the Italian book market. The newspapers confirm this status, for when Welty died in July 2001, the most important Italian [End Page 203] papers wrote just a few words about her works defining her only as the natural successor to Faulkner. The continuous comparison between Faulkner and Welty is an injustice to Welty, shadowing her work in the light of the great Nobel Prize winner. As a reader of a new generation, I would like to read Welty as she presented herself with her superb style and fabulous world. Of course Faulkner deserves attention, but sometimes one would like to appreciate Welty according to her own art. If one insists on comparing Faulkner and Welty, I would say that the former is great for his grotesque complexity while the latter is great for her elegant simplicity. It is difficult to gauge the current Italian perception of Welty’s works because most of her Italian translations cannot be found in bookstores. One must search the antiquarian bookshops as I did to find treasures such as the original version of Primo amore (Longanesi, 1947). There, I had hoped to find a small preface about Welty or the translator, but nothing. That same year, 1947, Delta Wedding was published in Italy with the title Nozze sul Delta. The Libreria Provinciale Salvatore Tommasi in Aquila, where a copy of the volume is kept, could not help me with further publication information. Both texts were part of the La Gaza Scienza series and as Primo amore is Volume 18 and Nozze sul Delta, Volume 23, I assume that the first Italian translation of Welty’s work is Primo amore. This collection includes all of the short stories of The Wide Net and Other Stories, but the title Primo amore was chosen perhaps because it sounds more romantic and exotic than La Gran Rete. Welty liked the title Primo amore, as we can read from a November 12, 1947, letter to her agent Diarmuid Russell quoted by Michael Kreyling in Author and Agent. The Italian Wide Net—how much better is the...

An Unrecorded Book of Hours, Printed by Plantin with a (Partly) Unrecorded Series of Illustrations

AbstractAn unrecorded copy of the Officium illustrated with 16 small engravings and printed by Plantin in 1578/9 which has recently come to light in an antiquarian bookshop confirms Karen Lee Bowen's hypothesis of 1994 that a number of engravings with the same format occurring in Plantin's Missale of 1585 belong to a series which Plantin must have commissioned from the engraver Jan Wierix after the designs of Peeter van der Borcht shortly after 1572. The series in the newly discovered book is anonymous, but the engravings are copied so carefully that they may be added to the oeuvre of Jan Wierix and Peeter van der Borcht respectively. Some of these engravings were previously entirely unknown.

The Claude glass: A modern metaphor between word and image

On one of the last days of May I finally succeeded — after having rummaged around in antiquarian bookshops and second-hand shops in London for a month and a half — in buying a so-called Claude glass, a drawing aid employed by eighteenth-century landscape painters.

ALAIN BRIEUX, DEALER AND SCHOLAR IN PARIS: HIS ARCHIVE ON SCIENTIFIC INSTRUMENTS

Abstracttitle SUMMARY /title Alain Brieux (1922-1985) ran an antiquarian book shop in the rue Jacob, in Paris. He dealt in books on the history of science and medicine, and in historical scientific instruments. He was a self-educated scholar who published on the subject of his trade, and became an expert on Islamic astrolabes. In 1972 Brieux was involved in the discovery of the identity of an Englishman who made forgeries of historic instruments. The purpose of this article is to draw the attention of scholars and institutions to the archives of the Brieux businnes. These were accumulated over a period of twenty-five years, and still belong to the business which is now run by his widow.

Karl Kraus and Music Criticism: The Case of Max Kalbeck

Any discussion of Vienna in early decades of twentieth century is bound to include mention of Karl Kraus (1874-1936). Indeed, he has even been described as greatest figures of Viennese fin de si&cle.l His sharp-eyed, and equally sharp-tongued, criticism of decaying culture of late-imperial Vienna reads as particularly telling to a posterity that knows how near both empire and culture were to their fall. The insanity that was World War I is perhaps nowhere better expressed than in The Last Days of Mankind. In light of his concern for language and its relationship with ethics, Kraus's critique of use of language by largely liberal broadsheets of his day is accorded a particular authority. Such, indeed, is Kraus's posthumous authority that, if he exempted Robert Hirschfeld (1857-1914) from his attacks or characterized Max (1850-1921) as exemplifying the vacuousness and pretentiousness of Viennese cultural journalism,2 such reputations have tended to stick. While numerous studies of Kraus's vast and varied output exist, however, his opinions of music critics have been largely allowed to rest on authority accorded him on account of his stature as a satirist and social critic in general. The principal aim of this paper, then, is as simple as its method: to investigate Kraus's authority as a judge of music critics by testing his most sustained attack on a particular music critic, Der Fall Kalbeck of 1904, against actual published criticisms to which he referred and in light of such other documentary and historical information as may be brought to bear in reconstructing intellectual and political context of debate. Although himself not particularly musical, Kraus included music critics among journalists whom he saw fit to attack in his periodical, Die Fackel. In particular, he attacked music critics of liberal broadsheets of widest circulation, Neue Freie Presse and Neues Wiener Tagblatt. These were, initially, Eduard Hanslick (1825-1904) and Max Kalbeck. Kraus was maliciously delighted to notice, in 1903, that a copy of latter's Wiener Opernabende (1898), with an inscription in author's hand to former, was for sale in an antiquarian book shop.3 Hanslick's reasons for giving up what was presumably a gift from its

REVIEWS

REVIEWS Victorian Yellowbacks & Paperbacks, 1849–1905. Vol. 1, George Routledge. By CHESTER W. TOPP. Pp. xiv+558. Denver. Hermitage Antiquarian Bookshop, 1993 $135. SIMON ELIOT SIMON ELIOT Department of Literature, Open University Search for other works by this author on: Oxford Academic Google Scholar The Review of English Studies, Volume XLVII, Issue 185, February 1996, Pages 103–104, https://doi.org/10.1093/res/XLVII.185.103 Published: 01 February 1996