n the friends the bancroft library bancroftiana

BANCROFTIANAN E W S L E T T E R O F T H E F R I E N D S O F T H E B A N C R O F T L I B R A R Y

N U M B E R 1 1 5 • U N I V E R S I T Y O F C A L I F O R N I A , B E R K E L E Y • F A L L 1 9 9 9

Continued on page 3

—by Joseph J. Duggan

Bancroft’s Marvelous Medieval French Manuscripts

In 1966, The Bancroft Librarybought a number of medieval French

manuscripts from Sotheby’s that wereamong the remnants of Sir ThomasPhillipps’ collection — the largest 19th-century collection of medieval manu-scripts in private hands.

The Phillipps manuscripts atBancroft are a small group, but they areof high quality and have been extremelyuseful to me in teaching students in thedepartments of French and comparativeliterature, primarily graduate studentsbut also undergraduates, about theways literature circulated in the MiddleAges and the methods we use toprepare medieval texts so they can beread by modern readers.

Bancroft has almost 400 medievaland Renaissance codices, most of themin Latin. I have also had students studytexts in Spanish, Italian, and English inseminars on paleography, codicology,and textual criticism. (Paleography isthe study of ancient writing, codicologythe study of the manuscript, or codex,as an object.)

Students are exposed to how parch-ment was prepared and how paper wasmade, how watermarks were used, howthe writing grid was laid out, howmedieval inks were composed, how touse the binding to date a codex, whatcolophons are.

They learn about rubrics, decora-tion, and illumination, the types ofmedieval books, the medieval booktrade, and book production by century.

They learn about wax tablets, onwhich ancient and medieval authorstypically wrote first drafts.

Following are some of Bancroft’smedieval manuscripts that my studentsand I have found particularly interest-ing and edifying.

Romances about King Arthur wereextremely popular in the Middle Ages,beginning with the romances ofChrétien de Troyes written in the1170’s and 1180’s.

Twelfth-century romances werecomposed in verse, as was almost all12th-century French literature, but bythe second quarter of the 13th century,prose had taken hold as a medium thatwas considered more apt for thedissemination of truth.

Since the romances about KingArthur had certain pretensions to beingtruthful, they were retold in a cycle offive prose romances, known as theLancelot-Grail Cycle or the VulgateCycle, that became the standardbiography of King Arthur, Merlin, andthe knights of the Round Table.

Bancroft has one copy of each of thefive romances of the Vulgate cycle: theStory of the Holy Grail, Merlin, the proseLancelot, the Quest for the Holy Grail,and the Death of King Arthur.

Bancroft’s Story of the Holy Grail alsocontains the verse Lives of the HolyFathers (Vie des saints peres). While theprose section of the manuscript iswritten in two columns, the verse partis written three columns to the page.

Students in my paleography seminarhave to transcribe short texts in carolineminuscule, gothic book hand, latemedieval cursive hand, and bastard orBurgundian hand. Bancroft has a goodcollection of individual manuscriptleaves to facilitate the study of medievalhands, which was assembled over manyyears by Bernard Rosenthal (Berkeleyrare book dealer and a member of theCouncil of the Friends of The BancroftLibrary).

This miniature group from the prose Lancelot shows, at thetop, Arthur and his court on horseback and Arthur blowinga horn. Below, the Lady of the Lake presents the boy Lancelotto Arthur; Arthur welcomes Lancelot. The bottom scene showsLancelot extracting lances from a wounded knight.

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From the Director

Biotech at Bancroft

Consider: One-third of thecountry’s biotechnology companies

lie within 35 miles of a University ofCalifornia campus; one-fifth of Californiabiotechnology companies were foundedby University of California scientists; sixof the ten best-selling drugs based onbiotechnology stem from University ofCalifornia research. Molecular biologyand biotechnology influence virtuallyevery field of the life sciences, generateconstant public interest and controversybecause of their benefits and perceivedrisks, raise serious questions of publicpolicy, and have a significant impact onthe economy.

All of this led Bancroft to establish itsProgram in the History of the BiologicalSciences and Biotechnology three yearsago with a start-up gift from an anony-mous donor.

Last March 12-13, the program wentpublic with a stellar series of events (seethe Spring 1999 Bancroftiana). This wasby far the largest and most ambitiouspublic program that Bancroft has eversponsored, attracting more than 1,200guests. It was successful in large partthanks to hard work from Bancroft staff,especially Curator of History of Scienceand Technology David Farrell and OralHistorian Sally Hughes, and magnificentcooperation from other Berkeley campusunits. Of course, that hard work wouldhave gone for naught without a star-studded group of speakers, headed byNobel Laureate James D. Watson, co-discoverer, with Francis Crick, of thestructure of DNA.

The weekend began on Friday with theopening of Bancroft’s spring exhibition,“Bioscience at Berkeley, Biotechnology inthe Bay Area,” which traced the evolutionof the life sciences at Berkeley in the workof such key figures as bacteriologist Karl F.Meyer, who taught the California canningindustry how to avoid botulism, andNobel Laureates Melvin Calvin, discov-

erer of the processesof photosynthesis,and Wendell Stanley,creator of Berkeley’sfamous VirusLaboratory.

The second part ofthe exhibition focused on the transfer ofbasic science into applied technology: thepatenting of and controversies surroundingrecombinant DNA technology, which liesat the foundation of the modern biotech-nology industry, and scientific papers,laboratory notebooks, business plans, andpress reports on the origins of Chiron andGenentech, two of the Bay Area’s firstbiotech companies (whose founders serveon the program’s Advisory Board).

The exhibition opening was also theoccasion for presentation of the program’sfirst set of oral histories, to UCSF professorWilliam Rutter, co-founder of ChironCorporation; Stanford Professor ArthurKornberg, Nobel Laureate for his work onDNA polymerase enzymes; and NeilsReimers, whose work in patenting basicrecombinant DNA technology hasbrought both Stanford and the Universityof California hundreds of millions ofdollars in royalties.

In his opening remarks Chancellor (andhistorian) Robert Berdahl spoke eloquent-ly of the importance of oral history forcapturing the ethos and ephemera ofsignificant events — documentation worthits weight in gold to the professionalhistorian.

The following morning UC Extensionoffered a short course on “DNA Technol-ogy in Plain English: A BiotechnologyPrimer” to an audience of 400. Fortifiedwith some basic knowledge, that audiencewas joined Saturday afternoon by another800 guests (in Wheeler Auditorium, withclosed-circuit TV display to an overflowcrowd in Dwinelle Hall) for “Biotechnol-ogy at 25: Perspectives on History, Science,and Society.”

After Watson’s keynote speech, “Fromthe Double Helix to the Human GenomeProject,” a panel chaired by Chiron co-founder and Berkeley’s Dean of theSchool of Public Health Edward Penhoetexplored “Historical Perspectives onRecombinant DNA Technology.”

A second panel, chaired by ProfessorEmeritus Daniel Koshland, Jr., focused on“Future Perspectives: Recombinant DNATechnology in Science, Industry, andSociety.”

With this symposium the Program inthe History of Biotechnology and theBiological Sciences has gotten off to anauspicious IPO. But for the past threeyears the program has quietly gone aboutthe business of processing archivalcollections of significant scholars, prepar-ing oral histories, working with the UCSFLibrary on a plan for documentingbiotechnology in the Bay Area, andconsulting with Berkeley faculty to setpriorities for acquiring papers of signifi-cant life scientists.

All of this takes money, and our initialgrant has been exhausted. During 1999-2000 we shall mount a fundraisingcampaign for the program, turning toindustry leaders, Cal alumni, and theFriends of The Bancroft Library for theirsupport. We are planning another majorpublic event for this coming spring, tofocus on the economic impact of biotech-nology. Stay tuned!

Charles B. FaulhaberThe James D. Hart Director

The Bancroft Library

Daniel E. Koshland, Jr., James D. Watson, Charles Faulhaber, Edward Penhoet

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French ManuscriptsContinued from page 1

A manuscript of Garin le Loherain, avery high quality chanson de geste, was

part of the Phillipps purchase. Thesignature “Grosley” is written at thetop. It is that of Pierre-Jean Grosley(1718-1785), a man of letters whocame in second to Jean-JacquesRousseau in the famous Academy ofDijon essay contest. (This was unfortu-

nate for Grosley but fortunate for thehistory of philosophy, as Rousseau’s essaywas the Discourse on the Sciences and theArts that launched his fame.)

Until Bancroft bought it in 1966,scholars had not seen this particularGarin manuscript since the 19th century,and there was another manuscript thatwas also considered missing. I askedTony Bliss, Bancroft’s curator of rarebooks and manuscripts, to keep his eyeout for the missing Garin, and in 1984he found it listed in the holdings of thebookseller H. P. Kraus. It was purchasedwith the generous assistance of theFriends of The Bancroft Library.

The sequel to Garin, Gerbert de Metz,is included in each manuscript, soBancroft has two copies of each work,one in assonance and one in rhyme. Therhymed version is the only copy thatexists.

One of the jewels of the Bancroftcollection, although it has no illustra-tions, is the manuscript of the Letters ofChristine de Pizan, Gontier Col, andothers that make up the quarrel over theRomance of the Rose, conducted aroundthe turn of the 15th century. This wasthe first French literary quarrel, and ithas had an illustrious progeny.

The collection of letters on theRomance of the Rose is also the firstfeminist controversy, and Christine dePizan qualifies as the earliest feministauthor. She wrote treatises in defense ofwomen, such as the Book of the City ofLadies.

Christine was offended by the attackson women and obscene language in theRomance of the Rose. She was one of themost prolific authors of her time,supporting herself after her husband’sdeath with poems and treatises on,among other topics, the art of warfareand Joan of Arc.

Carla Bozzolo, a Parisian expert onmedieval hands, has identified thewriting as that of Gontier Col, one ofthe participants in the quarrel. Gontierwas the secretary of Jean, Duke of Berry(1340-1416), one of the most famous

bibliophiles of the Middle Ages.Bancroft’s volume belonged to theduke, as can be seen by his signature onthe last folio, Jehan. Written above thesignature are the words, “Ce livre est auduc de Berry.” A subsequent ownertried to erase the signature, but it canbe read under ultraviolet light.

The Romance of the Rose, begun byGuillaume de Lorris around 1225 andcompleted by Jean de Meung around1275, was one of the most popular andmost frequently copied medieval books.Around 300 medieval copies are still inexistence.

Bancroft did not have a Romance ofthe Rose, however, until 1984, when itreceived one as a gift from the Hellerfamily of San Francisco on the 80thbirthday of Elinor Raas Heller, abenefactor of the University and TheBancroft Library. It is in Burgundianhand and dates from the third quarterof the 15th century. The rubric reads:“Ce est li Romans de la Rose/Ou l’artd’Amors est toute enclose.”

From the first folio of the Heller Romanceof the Rose; note the floral motif and snails.

First folio of the Merlin; the historiated initial showsfour angry devils.

Beginning of the first letter in the Romance of the Rosecontroversy, with rubric in red.

Continued on page 12

The beginning of Garin le Loherain in rhyme. Theinitial shows King Pepin, father of Charlemagne, beingcrowned.


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—by Anthony Bliss

BART? In Bancroft?Book ARTifacts Collection Documents Written CommunicationThrough the Centuries

At Bancroft, BART is not a mode of public transport but the Book

ARTifacts collection — an assemblageof objects dating back over 4,000 yearsthat provides tangible documentation ofthe processes of written communication.

BART’s oldest document is a rock: apiece of limestone from the tomb of theEgyptian pharaoh Teti (ca. 2345-2330BC) inscribed with his official seal, orcartouche, in hieroglyphics. Among thecollection’s latest additions is aMacintosh PC IIe with printer anduser’s manual (the gift of formerBancroft staff member Richard Ogar).

Between these chronological extremesthe collection contains a continuum ofrare, unusual, and commonplace itemsintended to demonstrate the technologyof communication.

The BART collection dates back toprinter Roger Levenson’s gift in 1956 of asuper-royal Albion handpress to theUniversity Library’s rare book department.

Today the BART collection includesBabylonian clay tablets, papyrus, ostraca(writing on pot shards), vellum and pa-per specimens, paper and type molds,type punches and matrices, binders’equipment, samples of every conceivablebook imposition, demonstration mate-rial for all types of illustration, exhibitpieces of photographic reproductionprocesses, nine printing presses, a ton-or-so of type (usable and unusable),linotype and monotype exhibit pieces, a

complete set of music engraving tools,and specimens of wax seals and his-

torical medals. Not to mentionthe Mac.

Bancroft staff prides it-self in taking an active role inteaching. I am often asked topresent first and early editionsof works that students of all lev-els have read in class so they willhave a sense of what these books

looked like when they werenew.

I point out that thetechnology availableto early scribes andprinters has a directimpact on the textthat present-day stu-dents read. Medievalscribes made mis-takes; when/if theywere caught, howwere they corrected?What options does

vellum offer for correcting mistakesthat paper doesn’t? If there’s no roomfor the correction, what do you do?Why are some pages of Shakespeare’sFirst Folio crammed while others arespaced out? Why is its spelling so ir-regular? What is the significance of abinding?

If printing is a mechanical process,why are there no exact duplicates fromthe early period? What are English andAmerican “plates” for 19th- and 20th-century publications? What are the im-plications for reprints and new edi-tions? Why do mid-19th-centurypopular periodicals have huge illustra-tions printed with the text while illus-trations in 17th- and 18th-centurybooks are printed as plates?

These are questions our studentsshould ask; BART provides the an-swers.

Some printing processes defy under-standing without demonstration, suchas copperplate etching. No one wouldbelieve it could work from a descrip-tion. But when I put a plate on therolling press and go through the grunt-ing and groaning that is part of pullinga proof, students’ disbelief becomescomprehension. When you’ve handledpieces of type and seen them lined upin a composing stick, when you’ve un-derstood the problems of justifying aline of metal slugs, when you realizethat no one is going to check yourspelling, you know why so many earlybook texts give modern editors fits.

Many special collections librarieshave a printing press for demonstra-tions, but scarcely any have a collectionof the depth, breadth, and chronologi-cal range of Bancroft’s holdings. BARTis a museum collection in support of alibrary. Its artifacts explain how thewritten and printed documents that

A few years ago, I mentioned to Karl Kasten, professor emeritus of art practice, that theBART Collection lacked an etching press. Not long after our chat, he located a small1890s model and presented it as his gift to the Library on behalf of the CaliforniaSociety of Printmakers.

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but it must be publicized toreach its full potential. In1985 Bancroft published a48-page, illustrated Guide tothe Book Artifacts Collection.This summer we publishedthe second edition of theGuide, now expanded to 61pages to reflect 15 years ofadditions to the holdings.

This new Guide, likethe first one, is the labor oflove of Flora ElizabethReynolds, librarian emerita ofMills College, who has re-ported to Bancroft on Thurs-day mornings for over 20years as cataloguer and unof-ficial curator of the BARTcollection. Her devotion tothe collection and to itsfounders, my predecessorLeslie Clarke and RogerLevenson, is an inspiration.

Before long, the BART Guide will goon-line. That way, Bancroft’scyber-friends will be able tosearch for wood-engravedblocks by Thomas Bewick,bookbinders’ cloth samples,typographical ornamentsfrom the Merrymount Press,the smallest Bible in theworld, and thousands ofother artifacts at the squeakof a mouse.

In the 15 years since thefirst edition of the Guide,there have been a variety ofacquisitions. When the typo-graphic laboratory of theSchool of Library and Infor-mation Science in SouthHall closed, Bancroft wasvery pleased to receive theSouth Hall Paper Mill equip-ment and the 1861 crownbroadside Albion handpress.

Our late director James D.Hart’s own iron handpress, a1913 Reliance (Washington-style) is now here as well.

students and scholars examine in ourreading room were made, thus makingthem more understandable.

The BART Collection also supportsthe biannual Friday afternoon classtaught in the Library: “The HandPrinted Book in its Historical Con-text.”

Students use types, presses, andother equipment from the collection toproduce a class project, usually a pam-phlet drawing on material in Bancroftcollections. Like most of the class pub-lications since 1983, this year’s produc-tions have both been selected for inclu-sion in the Rounce & Coffin Club’sWestern Books Exhibition: The LastWords of Arthur Rimbaud by BarryGifford and Seeing the Elephant, ex-cerpts from the Gold Rush journal ofE. A. Ingalls. The Rimbaud was de-signed and printed under the supervi-sion of Peter Koch in 40 copies; theIngalls journal was edited and designedby Les Ferriss with an introduction byKerwin Klein, Assistant Professor ofHistory, in 35 copies.

It’s all very well to have a wonderfulcollection of typographical artifacts,

Flora Elizabeth Reynolds

The Bancroft Library

GUIDEto the

BOOK ARTIFACTS COLLECTION

Second Edition

Smaller items include examples ofthe polymer plates now in favor withfine press printers and an early (possibly16th-century) woodblock from an edi-tion of Virgil’s Aeneid.

Some less obvious objects figureamong the most recent additions toBART: an IBM selectric II typewriter(with extra ribbons, correction tape,and printing balls) and the last packageof carbon paper in the Library. In an-other hundred years, how many institu-tions will be able to demonstrate thefunctioning of an electric typewriter?And carbon paper, now disappearing af-ter 100 years of use, will be just as mys-terious as the letterpress copybook tech-nology that preceded it. Nothing be-comes so rare as the commonplace.

Also slated for inclusion in BART isthe manual typewriter used by LeslieClarke and Elizabeth Reynolds. But notright now; Elizabeth is still using it.

Anthony Bliss is Bancroft’s Curator of RareBooks and Literary Manuscripts.

Flora Elizabeth Reynolds, librarian emerita of Mills College, has beenvolunteer cataloguer and unofficial curator of the BART collection formore than 20 years. Here she shows off French type cut ca. 1820 underthe supervision of Pierre Didot.

Copies of the 1999 revised edition of the Guide to the Book ArtifactsCollection can be had from the Library for $5, tax and postage included.

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Cataloging the Teatro Español CollectionOver 4,000 19th-century Spanish plays reveal intriguing new details —by Lisa Surwillo

The Teatro Español collection atBancroft comprises over 4,000

plays published in Spain during the19th century bound together in 224volumes. Originally in the MainLibrary, it was transferred to Bancroftlast year.

Bancroft and Berkeley’s Departmentof Spanish and Portuguese thenlaunched a joint project to catalog thecollection. Already, great strides havebeen made toward the goal of a com-prehensive inventory of the TeatroEspañol volumes, which we expect willgenerate much interest.

Although I am not a librarian, I wasgiven charge of the Teatro Españolcollection because of my training in19th-century Spanish literature. As aPhD student in Romance languages andliteratures, I am in the unique positionof viewing Bancroft material not only asa researcher and a student, but also ascataloguer of one of Bancroft’s richestcollections.

My first few weeks at Bancroft werespent under the tutelage of PatrickRussell, principal cataloger, whoinstructed me on the myriad catalogingrules established by the Library ofCongress. Each item in a catalog record

has a multi-digit code which anylibrarian can decipher, even if she/he isnot fluent in the language of the text.For example, distinctions betweenmultiple or individual authors arereflected by a single digit. Patrickcontinues to be an invaluable resource.

Cataloging is a true “close reading”of literature, but it is unlike mosttextual approaches taught in universityliterature departments. Fundamentalbibliographic information, such asauthor, title, and date of publication,constitutes only a fraction of the data Imust gather and organize in a catalogrecord. Because the public first interactswith most library materials via catalogrecords, I am trying to reflect as manyparticulars of this unique collection aspossible. Hoping to anticipate questionsof future scholars and researchers, Ihave augmented skeleton catalog entriesin several ways.

For example, the concept of author-ship in 19th-century Spain differedconsiderably from today’s. Perhaps 60percent of theater works of that erawere translations or adaptations offoreign works. Often the name of theoriginal author is not given. Recogniz-ing the potential importance for

research ofassociating a textwith both atranslator and anoriginal author,the TeatroEspañol recordsharmonizebibliographicaldescriptions basedon an examina-tion of thepublished playwith historicalresearch to ferretout the original

author.A second element, unique in the

Teatro Español catalog records, is thedate and place of the play’s premiere.(Plays were first performed and thenpublished, if sufficiently popular on thestage.) This information is included onthe title page of each copy of thepublished work, but without its tran-scription onto a catalog record, scholarscould remain unaware of its existence.Thus, each record includes pre-publica-tion information.

Similarly, I have given criticalattention to several other entries ofspecial interest to the collection as awhole. The most interesting — genre— collapses the immense diversity of19th-century Spanish theatrical termsinto uniform categories. For example, aSpanish play subtitled “Danceable,singable, tragic revue” is grouped withother works of musical theater, whilethe record retains the original headings.In this way, I hope the collection will beuseful for genre studies by peopleunfamiliar with the original crypticdesignations in Spanish, as well as forthose well-versed in them.

Once I have included all the perti-nent printed information for a piece, Ilook for distinctive markings which addto its value — the aspect of the projectwhich has offered the greatest surprises.Hidden, until now, in the hundreds ofpages I examine each day are notes bystagehands, actors, censors, and criticalreaders.

For example, in a Granada produc-tion of the Count de Fabraquer’s Lavieja del candilejo (The Old Lady of theLamp), a censor chose to strike thefollowing (immoral) lines:

Father: Be gone wicked woman!Daughter: Oh, accursed father!!Father: Truly, it is a lovely girl who is

about to lose her innocence.From the title page of El Uno Para El Otro (One for the Other) by P. Lopez Fortun.

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Curator Anthony Bliss emphasizesthe importance of these unanticipatedadditions to the Teatro Español catalogrecords: “Frankly, I wondered howmuch useful information this projectwould generate,” he said recently, “butwithin two weeks of getting started,Lisa began uncovering a wealth offascinating information . . . It’s onemore proof that close examination oforiginal artifacts can produce amazingresults.”

According to information on the titlepages, most of the works in theBancroft collection premiered on theMadrid stage, often by acting troupesheadquartered there. Indeed, mostinformation available about 19th-century Spanish theater concernsMadrid. However, the Teatro Españolcollection demonstrates what scholarshave assumed to be the case: within afew years of the premiere, many playswere performed in the provinces bydifferent companies.

One outstanding example of manu-script notes in the collection is a copy ofa play by Alexandre Dumas thatbelonged to a director from the CanaryIslands. His annotations regardingstaging, text modification, and declama-tion hold immense value for investigat-ing little-studied aspects of Spanishtheater, such as provincial productions,that have been ignored for lack ofprimary material.

The Teatro Español copy of Venturade la Vega’s La cisterna encantada (TheEnchanted Cistern) belonged to a stagemanager who noted which sections ofthe play were to be accompanied bymusic — an important element ofSpanish theater that has been lost to agreat degree.

Many highly regarded, canonicalauthors are well represented in theTeatro Español collection, among themJosé Zorrilla, Ventura de la Vega, andBenito Pérez Galdós.

Several first edition copies of worksstudied by scholars today enrich thecollection, such as the stage productioncopy of Galdós’s Mariucha. Onemember of the production teamincluded his or her comments on the

back cover: “There is no art in Galdos.He has no style and he lacks intensity.He doesn’t have the necessary talent tomake his works anything but sermons.He is always criticizing and [it is not]literature. Literature is that which whenone reads it, one forgets the world thatsurrounds us.” [my translation]

Such a large collection promises toexpand the number of authors and textsstudied by scholars beyond the estab-lished canon. A large percentage ofworks in the Teatro Español collectionare by authors seldom studied today.Many were great theatrical successes,such as La Gran Vía by FedericoChueca, which reached a seventhedition within five months of itspremiere. The premiere date in theTeatro Español records favors recoveryof the work of many popular but sinceforgotten authors.

During the months that remainbefore the Teatro Español catalogingproject’s completion in December, Ihope to uncover more exciting informa-tion as I continue to increase theusability of the collection. But there isstill one big mystery to solve: whocompiled the Teatro Español collection,for what purpose, and how did he orshe choose which authors to include?

Lisa Surwillo is the cataloguer ofTeatro Español and a PhD candidatein romance languages and literatures.

From the title page of Ricardo Darlington by "Alejandro Dumas.”

From the title page of Dar Tiempo al Tiempo (Give Time to Time).


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52nd Annual Meeting

Best-selling novelist Amy Tan was the keynote speakerat the Friends' 52nd annual meeting April 17.She brought her two Yorkshire terriers—Lily andBacigalupi—with her in a black bag.

As has become traditional, theFriends of The Bancroft Library

celebrated their annual meeting on CalDay, April 17, the day that the Berkeleycampus throws open its doors to thegeneral public.

By common consent, the day’shighlight was the Friends’ program—a talk by novelist Amy Tan, held inWheeler Auditorium. Ms. Tan charmedthe SRO crowd of more than 800 withher initial comments about returning toBerkeley after having studied inDwinelle Hall as a graduate student inlinguistics and experiencing the peculiarpleasure of finding herself immortalizedin Cliff Notes along with such fellowauthors as Bill Shakespeare and JimmyJoyce.

She left everyone in stitches atthe end when her pair of York-shire terriers poked their nosesout of her oversized handbag. Inbetween she offered a deeplymoving reflection on the well-

springs of her writing,rooted in her relation-ships with her motherand through her, to hergrandmother. Ms. Tan's talk waspreceded by a lunch andbusiness meeting, held inthe Great Hall of theFaculty Club. ChancellorRobert Berdahl stoppedby briefly before lunch,on his way to the airport,to welcome the Friendsand to express hisappreciation for theirsupport of Bancroft. The highlight of thelunch was the award ofthe first Hill-ShumatePrizes for UndergraduateBook Collecting, under-written by long-time

Friends Kenneth Hill of Rancho Santa Fe,California, and the late Dr. Albert Shumate ofSan Francisco. Luba Golburt, a senior inComparative Literature, won first prize for herpoetry collection, especially for the section onmodern Russian poetry (see page 13).

Four new Council members were elected atthe meeting: Martha McEnerny Brigham,who brings welcome fundraising experiencefrom her many years as a major gifts officer at

Amy Tan

Amy Tan congratulates Christina Tran on winning a prize in the Hill-Shumate book collecting competition.

P A G E 9 / F A L L 1 9 9 9


Peggy Cahill chatted with former chancellor Albert Bowker over lunchat the Faculty Club.

New University Librarian Jerry Lowell greeted guests in his Cal Day tee-shirt.

Mother and son: Doris, '44, and Wally Ransom.

Betty Helmholz, left, and Katharine Wallace.

Ann Flinn, Chair of The Council of the Friends of The Bancroft Library, left, withhusband David Flinn and Jamie (Mrs. Charles) Faulhaber.

Cal and UC San Francisco; investmentcounselor Peter Frazier, former financialvice president of the California AlumniAssociation; David Pierpont Gardner,President Emeritus of the University ofCalifornia; and Katharine HotchkisJohnson, a distinguished member of anold California family who offers theCouncil a wealth of experience inworking with non-profit organizations.

Photos by Peg Skorpinski


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New (Old) Mark Twain Found in Bancroft Scraps—by Robert H. Hirst

New letters by Mark Twain arefound with some frequency by the

editors of the Mark Twain Project, some-times without ever leaving the county (seeBancroftiana, Spring 1999, p. 13).

It is much rarer, however, to find losttexts of anything Mark Twain publishedin the Virginia City Territorial Enterprisebecause no file of that paper survives, thelast having perished in the earthquake of1906.

It therefore seems to us an event worthgloating over that Associate Editor Rich-ard Bucci recently found two such clip-pings, and that he performed this featwithout ever leaving The Bancroft Li-brary!

While working on a volume of MarkTwain’s journalism and short fiction (dueout next year), Bucci decided to lookthrough Bancroft Scraps — a series ofscrapbooks containing newspaper clip-pings assembled for Hubert HoweBancroft. These scrapbooks have beenpart of the library since Bancroft sold hiscollection to the University at the turn ofthe century, and researchers have certainlyperused them many times before, lookingfor just this kind of lost gem. That editorBucci had the patience and optimism tore-examine the scrapbooks speaks to thecaliber of research performed routinely onthe fourth floor of Bancroft.

In any case, he found two long sectionsfrom Enterprise letters published about amonth apart, on 23 January and 22 Feb-ruary 1866. Neither clipping had theauthor’s signature intact (H.H. Bancroftwas interested in publicity about his forth-coming book of poems, not in preservingworks of the young San Francisco journal-ist who signed himself Mark Twain). Butother evidence makes it quite clear thatboth clippings are from Mark Twain’s SanFrancisco correspondence with the Enter-prise — a series of daily letters in 1865and 1866 comprising some 300,000

words, less than 30 percent of which hassurvived in any form.

Neither letter was ever collected or re-printed in Mark Twain’s lifetime, nor hasany modern collection ever includedthem. Here is the first clipping, whicheditor Bucci said he felt privileged to bethe first person since at least 1906 to readand recognize as Mark Twain’s:

SAN FRANCISCO LETTER.[FROM OUR RESIDENT CORRESPONDENT.]

SAN FRANCISCO, January 18.A RIGHTEOUS JUDGE.

Judge Rix decides that the word “bilk”is obscene, and has fined a man for usingit. He ought to have hanged him; butconsidering that he had not power to dothat, and considering that he punishedhim as severely as the law permitted himto do, we should all be satisfied, and entera credit mark in our memories for JudgeRix. That word is in all our dictionaries,and is by all odds the foulest one there. Itssound is against it — just as the reader’scountenance is against him, perhaps, orjust as the face or voice of many a man wemeet is against the owner, and repels astranger. The word was popular a hundredyears ago, and then it meant swindling, ordefrauding, and was applicable to all man-ner of cheating. Having such a wide sig-nificance, perhaps its disgusting soundwas forgiven it in consideration of its ser-vices. But it went out of date — becameobsolete, and slept for nearly a century.And then it woke up ten years ago a dif-ferent word — a superannuated wordshorn of every virtue that made it respect-able. The hoary verb woke up in a bawdy-house after its Rip Van Winkle sleep ofthree generations and found itself essen-tially vulgar and obscene, in that it hadbut one solitary significance, and that de-scribed the defrauding a harlot of thewages she has earned. Since then its juris-

diction has been enlarged somewhat, butnothing can refine it — nothing can el-evate it; it is permanently disgraced; it willnever get rid of the odor of the bawdy-house. The decision of Judge Rix closesrespectable lips against its utterance andbanishes it to the domain of prostitution,where it belongs. Depart in peace, pro-scribed Bilk!

THE RIGHTEOUS SHALL NOT BE FORGOTTEN.

Not while Bancroft publisheth, at anyrate. He is going to render justice unto allthat legion of Californian poets who weredefrauded of fame in being left out of“Outcroppings.” The number thuswronged has been estimated at eighteenhundred. Bancroft, with a hardihood thatcommands our admiration and a spirit ofenterprise which is a credit to California,is going to publish a book wherein allthese poets may sing. Each of them will beallowed a space not exceeding a hundredlines — a page, say. Eighteen hundredpages! — nine volumes of California po-etry! Think of it! In poesy California willadvance to the front — to the head of thenation, at a single stride! A litter of ninevolumes of “purp-stuff ” at a single birth!Can the country stand it? Pray Heaventhe Genius of California Literature dienot in the pains of labor. This enterprise iseminently Californian, and will be en-couraged. We cannot bear to see thingsdone in a mild and unassuming way, here;we delight in dash, boldness, startling ef-fects. We take no pride in anything we dounless it be something that will knock thewind out of the world for a moment andmake it stand appalled before us. We liketo hear the nations say, “There is no mis-taking where that thunderbolt hails from— that’s California, all over!” You will seethem hunt their holes when this inunda-tion of “purp-stuff ” floods the land. Theywill say, “Away with your little

Continued on page 12

P A G E 1 1 / F A L L 1 9 9 9


High in the plateau city of Santa Fe,where the Sangre de Cristo moun-

tains tower over the Old Pecos Trail,Eleanor Swent is searching for stories.

Armed with tape recorder and micro-phone, she approaches a low adobe houseand extends her hand to the elderly gentle-man within. Her mission is a little unusual— she wants to talk about mining — andluckily, the man is eager. In fact, he has hisown agenda: exposing his grandfather’smurder.

It is 1994, and Swent, an interviewerfor the Regional Oral History Office, istraveling the western states, tape recordingan oral history of 20th-century mining sofuture generations will know how mineralresources were extracted and why.

The man, gregarious at 93, is NormanCleaveland. A dredge miner who cut histeeth on Alaska and California gold, he de-votes his retirement to an obsession withhis grandfather’s death by gunshot in1883. Undeterred from her purpose,Swent quickly strikes a bargain. If Cleave-land will talk about his mining career,she’ll record the story of his grandfather.

Negotiations are all in a day’s work forSwent. She often encounters skepticismfrom her primary sources, mainly engi-neers. “Some of them are reluctant to dis-cuss technical things with a woman,” shesays. “I shouldn’t be ‘bothering my prettylittle head’ with that sort of thing.”

But as Cleaveland and others soonlearn, she can talk mining with the best ofthem.

Swent, 75, knows a mine better thanDarling Clementine. Born into one min-ing family and married into another, shehas spent a lifetime following the westernmineral trail, from South Dakota’s BlackHills to the Southwest and Mexico.

For years, her reason for going to anynew place — her husband’s career as amining engineer — sounded a lot like herreason for leaving again.

In 1985, Bancroft sought her out toconduct a few oral history interviews with

Eleanor Swent Puts Her Mining Expertise to Work—by Laura McCreery

miners. Delighted to apply her back-ground, Swent interviewed five patriarchsof the mineral industry. From these mod-est beginnings, the oral history series tookon a life of its own.

“At first it was Californians in mining,”says Douglas Fuerstenau, a retired mineralengineering professor and the project’sprincipal investigator. “Then the series ex-panded to cover all western mining.”

Swent raised more funds and added thenames of geologists, metallurgists, andprospectors to her list. Fuerstenau re-viewed transcripts, occasionally asking formore detail about some process or inven-tion. “We wanted not only the history,but the significance,” he says. But mostlyhe left her alone to gather the stories. “Shehas mining in her blood,” he says.

Nobody predicted the impressive out-come of Swent’s efforts: She has inter-viewed and edited for 14 years, producing50 full-length oral biographies of the men,and a few women, who know miningfirsthand. “I didn’t know what I was get-ting into when I started out,” she says.

Mining experts described their careersin detail, from exploration and treatmentof ores to interaction with regulatoryagencies. Their recollections reach back tothe 1920s and include historical nuggets

on the mining of gems, metals, and com-pounds from asbestos to zinc — every-thing except petroleum.

Many interviews revealed the naturaltension between environmental and busi-ness concerns. Horace Albright valuedboth. He worked on legislation to estab-lish the National Park Service in 1916 andserved as its second director. Trained as amining lawyer, he also managed the U.S.Potash Company (later U.S. Borax) fornearly 30 years. Albright saw these roles asdistinct but not mutually exclusive.

“When anybody talked about lookingfor mines in the parks, you could dependon me opposing it,” he told Swent.

Now Swent wants the oral historiesused, whether by historians, scientists, orenvironmentalists. As a lifelong literaturebuff, she hopes someone will pen a greatnovel from her material — perhaps thestory of Norman Cleaveland, who laboreduntil his death in 1997 to uncover hisgrandfather’s murder. He believed it wasmasterminded by the the founders ofSouthern Pacific.

Although the literary world has yet todiscover the series, engineers embraceSwent’s work. Last December she deliv-ered the commencement speech and ac-cepted an honorary doctorate at the SouthDakota School of Mines and Technology.

“As a native South Dakotan, I wasthrilled,” she says.

Swent is preserving a way of life thathas nearly disappeared from the AmericanWest. Funding for interviews grows scarce,but she has no plans to quit.

“Mining isn’t just iron and gold andcopper and lead anymore,” she says. Shetaps her metal desktop, her window, andfinally her tape recorder, the oralhistorian’s essential tool.

“Everything we use is either grown ormined.”

Laura McCreery directs the Library School oralhistory series for the Regional Oral History

Office. Copyright 1998, 1999 Laura McCreery.

Eleanor Swent

Phot

o by

Jan

e Sc

herr


P A G E 1 2 / F A L L 1 9 9 9

The latest French acquisition forBancroft’s manuscript collection is abifolium (two connected leaves) of theRomance of Brutus (Roman de Brut), atranslation made by Wace around 1155of the History of the Kings of Britain byGeoffrey of Monmouth. Geoffrey’sbook made the legend of King Arthurknown to a European audience. Hetraced the kings of Britain back toBrutus, grandson of Aeneas, and thusto the Trojan heroes of the War of Troy.

Part of codicology is tracing the lineof ownership by which a codex reachedthe modern world, called the prov-enance. Here is a cautionary example ofwhat it can do.

Among the many manuscripts inBancroft that did not come from thePhillipps Collection is a gospellectionary for the year 1328, the gift ofprofessor Charles Jones, who taught inthe English Department for many yearsand who bought the manuscript inFlorence in 1920.

Tony Bliss suspected that thismanuscript was not authentic, asuspicion shared by some local andvisiting experts. He had the parchmentand inks analysed by a team of scholarsat UC Davis’s Crocker Historical and

French ManuscriptsContinued from page 3

Archaeological Project under thedirection of Richard Schwab. Theproject uses a cyclotron to generatex-rays from samples of early inks,papers, and pigments.

The resulting elemental analysisshowed that the blue inks of thelectionary were cobalt blue, a pigmentthat only came into general use after1800. The “gold” was actually brasspowder. The “parchment” turned out tobe paper coated with white lead andtinted yellow, typical of clay-coatedprinting papers from the late 19th andearly 20th centuries.

So don’t spend a lot of money on amedieval manuscript without askingTony’s advice.

It is a tremendous privilege to be ableto teach this kind of course in theBancroft Library. Students can studypaleography and textual criticismanywhere, of course, by using microfilmcopies or even, increasingly, the WorldWide Web. (See Bancroft’s DigitalScriptorium athttp:sunsite.berkeley.edu/scriptorium,where images of all these manuscriptscan be seen.) But to learn the rudimentsof codicology, one really has to haveaccess to the medieval artifacts. Onlythey can generate the excitement thatcomes from examining books that wereproduced and read by medieval scribesand readers.

The Bancroft collection providesstudents interested in medieval litera-ture, here at the edge of the Westernworld, with an entree into the world ofmedieval literary artifacts that is ex-tremely rare.

Joseph Duggan teaches French andComparative Literature and is

Associate Dean of the Graduate Division.He holds the Bernie S. Williams Chair of

Comparative Literature.

Outcroppings! — away with your littlepenny primer of nursery rhymes! — thisthing has got the California ear-marks onit!”

Bancroft’s book will be issued June 1st.The eighteen hundred must send in theirofferings early in March — all who delaybeyond that time will be ruled out again.But you needn’t be afraid — they will allbe on time. These are the fellows who canjerk you four columns of poetry in asingle night.

I am told that Mr. Henry Bush, thedaguerrean artist, has already sent in sev-eral extracts from his fine epic — hisfamed “Harp of the Day” — and also agraceful sonnet or so. Fitz Smythe hascontributed his stately anthem, “Gone!Gone! Gone!” written in a lucid momentjust subsequent to the assassination of thePresident. That other gifted, but shame-fully neglected Alta poet, “K,” has offeredhis noble verses entitled, “Steamer Out atSea,” which he wrote that time theGolden City was missing for fifteen days.Emperor Norton is a contributor.Pittsinger is a contributor. Mr. Bloggs, ofthe Call, is a contributor. The Flag poetsare contributors. I am a contributor.

Bancroft has secured the services of aneditor for his book who is entirely “un-committed to any clique;” who is impar-tial and will judge dispassionately all pro-ductions submitted to him. If a poempossesses any merit he will insert it. If itpossesses none, he will reject it with tearsand lamentation.

Come on, you sniveling thieves! Fallinto ranks and blast away with your rottenpoetry at an unoffending people! Do yourworst and vamose — scatter — git! Sayyour say and then stop your yowling for-evermore!

Robert Hirst is Curator of the Mark TwainPapers and General Editor of Bancroft’s

Mark Twain Project.

Mark TwainContinued from page 10

This French gospel lectionary, dated 1328, was actuallywritten in Italy ca. 1900.

P A G E 1 3 / F A L L 1 9 9 9


Russian Emigré Wins First Hill-Shumate Prize

When 15-year-old Russian immi-grant Lyubov “Luba” Golburt

arrived in San Francisco, her family hadbarely enough money to buy food.Despite this, their first purchase in theUnited States was a thin volume ofpoetry from a bookstore in the Rich-mond district.

“Irresistibly attractive, it beckonedme,” said Golburt, the first winner ofBancroft’s new annual Hill-ShumateCollecting Prize for undergraduates.The treasured little blue book—aJoseph Brodsky paperback thatGolburt’s stepfather bought for her thatday in San Francisco—became thecornerstone of Golburt’s winning bookcollection of poetry supplemented withprose, art, and biographies.

Contest organizer Tony Bliss, curatorof rare books and literary manuscripts,had no idea what students wouldsubmit when the new contest waslaunched last spring.“I was afraid I’d getcomic books and baseball cards,” hesaid. “Collections had to be printmaterial, but other than that, I had noidea what we would find. I was sur-prised not so much by the specificitems, but by the significance of thingsthe students were collecting.”

All three contest winners submittedbook collections with a strong emphasison 20th-century literature, includingpoetry.

“This makes me think those who saypoetry is dead are dead wrong,” saysBliss.

Besides the $500 first prize, $300went to Carolyn Babauta for a collec-tion started with Beat Generation poetsand $100 to Christina Tran for land-marks in world literature.

The prizes were funded by two notedbook collectors and Bancroft supporters—Kenneth Hill of Rancho Santa Fe,Calif., and the late Al Shumate of SanFrancisco—to encourage collecting bythe younger generation.

“We’re talking about kids who don’thave much money and can’t affordfancy editions,” Bliss said. “But thatdoesn’t matter for them now. If you’re acollector pushing age 60 or 70, youdon’t have to be convinced of theimportance of continuity of literature orhistory or human endeavor. But to see20-year-olds with that conviction is agreat comfort.”

Collections submitted rangedbetween 300 and 500 volumes. Golburthas 150 titles in poetry alone, lovinglyarranged behind glass in her Berkeleyhome.

Good books were hard to come byin Golburt’s homeland. Born inTashkent in 1978, she said stores were

—by Kathleen Scalise

full of Communist texts, but in order toget really interesting books, you had tobarter. “If you collected heaps of old paperfor the recycling centers, you didn’t getpaid money directly, but you could getnewly published books,” she recalls.“There were anecdotes about going tothe neighbors for tea, spying an oldpiece of paper and taking it,” she says.

“I remember collect-ing all the paper Icould find so I couldhave books.” Typical of theRussian intelligen-tsia, her familyowned a large,treasured collectionof books and manu-scripts acquired overgenerations. But herparents had to sell itfor just $25 whenthey emigrated. “It was a reallypainful thing to leaveour books,” saidGolburt, whograduated fromBerkeley in May andwill begin doctoralstudies in compara-tive literature atStanford Universitythis fall. “They werepretty much the onlything we had. Therewere a lot of memo-ries connected withthem.”

Kathleen Scalise is a Senior PublicInformation Representative in the

campus public affairs office.

Luba Golburt

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Jane

Sch

err


P A G E 1 4 / F A L L 1 9 9 9

BRIEFLY

Bancroft’s Regional Oral History Office(ROHO) has published Catalogue II(1980-1998), available in hard copy andon the web. It is twice the length ofCatalogue I (1954-1979), with morethan 600 new oral histories briefly sum-marized. Attractively bound and printedin the typographic tradition of LawtonKennedy, Catalogue II was underwrit-ten by the San Francisco Foundation,the Bancroft Library Publications Fund,and John and Barbara Rosston.

It is priced at $14.50, plus $2.50shipping and handling. A few copies ofCatalogue I are available for readerswho wish to purchase both catalogues at$20 plus $2.50 shipping and handling.

Catalogue orders should be addressedto:

Regional Oral History Office486 Library, University of CaliforniaBerkeley CA 94720-6000

For more information, contact ROHOphone: 510/642-7395fax: 510/642-7589email: [email protected]

Both catalogues can be accessed onthe web at

library.berkeley.edu/BANC/ROHO

As of July 1, Theresa Salazar is Curator ofthe Bancroft Collection of WesternAmericana, replacing Bonnie Hardwick.

Salazar has been special collectionslibrarian at the University of Arizona inTucson for the past decade, where she hasbuilt collections on the Southwest,northwestern Mexico, Mexican Ameri-cans, and Native American literature andadded to fine press and book art materi-als.

Before that she was a print specialist atthe New York Public Library (1986-89)and a manuscript librarian at the Libraryof Congress (1985). In 1981-82 she wasa Helena Rubenstein Fellow at theWhitney Museum of American Art.

First Among EqualsAt a festive event Feb. 27 at Blake House in Kensington, San Francisco Mayor Willie Brown was presented withhis oral history, “First Among Equals: California Legislative Leadership, 1964-1994.”

The history was prepared by Gabrielle Morris of Bancroft Library’s Regional Oral History Office. From leftare Charles Faulhaber; Willie Brown; John De Luca, president of the Wine Institute and a close friend of Brown’s;and UC President Richard Atkinson.

Guests included former UC presidents Jack Peltason and David Saxon, UC Regent Bill Bagley, and ErnestGallo.President Atkinson surprised Brown by also awarding him the UC Presidential Medal. Brown graduatedfrom Hastings College of the Law and was a UC Regent from 1980 to 1995.

Brown, who arrived uncharacteristically early, charmed guests with stories of his long and variegated politicalcareer. Of the oral history he said, “there’s no way for you to know how much this means to me.”

Theresa Salazar Is New Curator forBancroft Collection

Salazar received her MLS degreefrom Columbia in 1984. She also hasan MA in English and a BA in arthistory from the University of NewMexico in Albuquerque.

Says Bancroft director CharlesFaulhaber: “We’re delighted withTheresa’s appointment as Curator ofthe Bancroft Collection. She’s exactlythe kind of person we were lookingfor when we began the search forBonnie’s successor. She brings broadexperience in all the areas that we’reinterested in, particularly the Hispanicimpact on the history of the AmericanWest, to which she brings personal aswell as professional qualifications.”

New Oral HistoryCatalog Covers TwoDecades

catalogue II of the regionaloral history office

Photo by Peg Skorpinski

P A G E 1 5 / F A L L 1 9 9 9


Desiderata: Coffee, Tea, and Chocolate

Second Chronicle Salutes UC Women Since 1870

Bancroft’s collection on coffee and teabegan with a gift of 81 titles from JosephM. Bransten (of MJB Coffee) in 1972,followed by a Bransten endowment. Nowknown as the Joseph M. Bransten Coffeeand Tea Collection, Bancroft continues toadd material as opportunity permits. Wealso collect books on chocolate, with anemphasis on its early history in theAmericas and Europe. We would welcomeany of the following titles as a gift. Dealersare also welcome to quote these to us.Please contact Bonnie Bearden in Acquisi-tions at (510) 642-8171, or via email:[email protected]

Barrotti, Lorenzo. Il caffe [poem] Parma:Stamperia Reale, 1781. 1st ed.

UC’s first womenstudents—eight innumber— enteredas part of its secondclass in 1870. The

second issue of theChronicle of the University of

California — 184 pages illustrated with140 photographs and drawings, manynever before published — presentsstories of their successors and UCwomen faculty and staff, philanthro-pists, and faculty wives. It is subtitled“Ladies Blue and Gold.”

The issue, edited by Janet Ruyle,includes articles on the early years ofthe University YWCA, the Prytaneanhonor society, poet Josephine Miles,

suffragette May Cheney, teacher IdaLouise Jackson, architect Julia Morgan,the long-vanished Partheneia pageant,and North Gables, the “boarding housewith a heart.”

Contributors include historyprofessor Robert Brentano, educationprofessor emerita Geraldine Clifford,retired public information director Ray

Blegny, Nicolas de. Le bon usage du thé, du caffé etdu chocolat pour la préservation & pour la guérisondes maladies. Lyons: T. Amaulry, 1687. 1st ed.,predating Paris issue of the same year, whichBancroft has.

Bramah, Edward. Tea & coffee: a modern view ofthree hundred years of tradition. London:Hutchinson, 1972.

Le cacao historique, préparation et propriétés duchocolat. Drome: 1889.

Dufour, Philippe Sylvestre. The manner of makingcoffee, tea and chocolate newly done out of the Frenchand Spanish. London: Printed for William Crook,1685.

Duncan, Daniel. Wholesome advice against theabuse of hot liquors, particularly of coffee, chocolate,tea, brandy, and strong waters London: for H.Rhodes & A. Bell, 1706.

Facheris, Francesco Lodovico. Saggio di osservationisul uso del caffe. Bergamo: 1831.

Law, William. The history of coffee, including achapter on chicory. London: 1850.

Modiano, Colette. Turkish coffee and the fertilecrescent; wanderings through the Lebanon,Mesopotamia, Israel, Jordan and Syria. London:Joseph, 1974.

Naviers, Pierre Toussaint. Observations sur le cacaoet sur le chocolat. Paris: Didot, 1787. 1st ed.

P., M. A character of coffee and coffee-houses.London: for John Starkey, 1661.

[Smith] Tsiology, a discourse on tea. Being anaccount of that exotic, botanical, chymical,commercial and medical, with notices of itsadulteration. London: 1826

The tea-cyclopedia; articles on tea, tea science,blights. Calcutta: Whittingham, 1882Triffit, Dr. Histoire et physiologie du café. Paris:1846.

The women’s petition against coffee. Representingto publick consideration the grand inconvenienceaccruing to their sex from the excessive use of thatdrying, enfeebling liquor. London: 1674.

Colvig, retired University ArchivistJim Kantor, and human biodynamicsprofessor emerita Roberta Park.

“Ladies Blue and Gold” is on sale atthe ASUC bookstore and the FacultyClub for $15 plus tax.

To order your copy or to subscribe tothe Chronicle, contact managing editorCarroll Brentano at the Center forStudies in Higher Education, SouthHall Annex, University of California,Berkeley, CA 94720-4650;email [email protected];phone (510) 643-9210.


P A G E 1 6 / F A L L 1 9 9 9

BANCROFTIANAU N I V E R S I T Y O F C A L I F O R N I A

B E R K E L E Y , C A L I F O R N I A 9 4 7 2 0 - 6 0 0 0

Fall 1999 Calendar

T H E X F R I E N D S X O F X T H E X B A N C R O F T X L I B R A R Y

FRENCH

MANUSCRIPTS

Page 1

Alfred W. BaxterCarlos BeaMartha BrighamJohn BriscoeKimo CampbellGifford CombsHenry DakinRita FinkAnn Flinn, ChairVictoria Fong, Vice ChairPeter FrazierDavid P. GardnerRoger Hahn

Peter HanffWade HughanKatharine JohnsonMaxine Hong KingstonGary KurutzAllan LittmanIan MackinlayBernard RosenthalCamilla SmithJulia SommerStephen VincentThomas E. WoodhouseCharles B. Faulhaber, Secretary

The Council of the Friendsof The Bancroft Library

1999–2000

NON-PROFIT ORGANIZATION

U.S. POSTAGE

PAIDBERKELEY, CALIFORNIA

PERMIT NO. 411

ROUNDTABLES

Editor Julia SommerProduction Catherine Dinnean

Printer Apollo Printing Company

TYPOGRAPHICAL

ARTIFACTS

Page 4

SPANISH PLAYS

Page 6

BANCROFTIANANumber 115

s

I N T H I S I S S U E

LECTURES

An open, informal discussion group, theBancroft Roundtable features presentations byBancroft staff and scholars. All sessions are heldat the Faculty Club at noon on the thirdThursday of the month.

SEPTEMBER 16Grey Brechin, Bancroft FellowCrime and Reward: The Untimely Death ofWilliam Chapman Ralston, the Triumph ofSenator Sharon, and the Birth of the Bureau ofReclamation

OCTOBER 21

Theresa Salazar, Curator of the BancroftCollectionCalifornia Dreaming: A View from the Southwest

NOVEMBER 18Peter Koch, fine printerThe Bancroft Library Press – 8 Years, 8 Projects

DECEMBER 16

Holiday readings from favorite Bancroft texts

EXHIBIT AND SYMPOSIUMSEPTEMBER 20–DECEMBER 10ANCIENT LIVES:THE TEBTUNIS PAPYRI IN CONTEXT

Opening lecture & reception:September 24, Friday, 4–7 pm

Symposium:September 25, Saturday, 9am–4pm

Co-sponsored with the Department of Classics

SEMINARS

DINNER AND LECTUREOCTOBER 19, TUESDAY

6 pm: dinner in honor of J. S. Holliday8 pm: lecture by J.S. Holliday

“A Place of Freedom and Opportunity:California in the Post-Gold-Rush Decade”

Morrison Room, Doe Library

OCTOBER 7, THURSDAY, 1:30 – 5:30 pmOCTOBER 8, FRIDAY, 1 – 5:30 pm

THE UNIVERSITY LOYALTY OATH:A 50TH ANNIVERSARY RETROSPECTIVE

Co-sponsored with the Center for Studies inHigher Education

OCTOBER 16, SATURDAY, 10 am – 12 noonPLANNED GIVING SEMINAR