Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Thursday, 23 April 2020

Isaac Havelock: a book-lover in seventeenth-century York

By John-Francis Goodacre, Archives Trainee


Imagine stepping into a house. Nobody is at home, but a row of books lines the bookshelf. How much can you tell about the person who lives there?

This is the situation we can find ourselves in when reading probate inventories, the lists of movable goods that were drawn up after a person’s death in order to assess their wealth and calculate church court fees. These lists can offer an incredibly rich insight into the everyday lives of people long dead, through a snapshot of what they owned at the time of their death. Though many inventories only record clothing, household furniture and livestock, some occasionally contain detailed evidence of book ownership. One such inventory in the Borthwick’s Yorkshire Probate Records tells the story of an avid reader in seventeenth-century York.

Isaac Havelock died some time before September 1640. His estate passed through the Prerogative Court of York, and four men were instructed to make an inventory of his goods, which they did on the 31st of August. This inventory - a long piece of parchment written on both sides - records an impressive array of furniture in York, as well as a large selection of goods in Berwick upon Tweed, including fine clothes, five gold rings, a silver watch and chain, and a horse. What makes the document stand out, however, is the category of items that is given its own space in the end, making up a good third of the entire inventory and over a quarter of its value. The “Schedule of his books” records at least 132 books, of which 43 are individually named.


The beginning of Isaac Havelock’s inventory.

There is little else we know about him. The other documents that one would expect to find in a probate bundle - a will, a grant of administration, a bond - haven’t survived, so it is not clear what his occupation was or to whom he left his possessions. There seem to have been Havelocks living in the villages of Skelton-in-Cleveland, Marske and Guisborough in the North Riding of Yorkshire, and the parish register of Skelton records the baptism of an Isaac Havelock, son of John, on September 28th 1587. Isaac Havelock also appears as a witness in a number of deeds from the area around York between the 1610s and the 1630s, including one where he is described as a servant to Richard Bell Esq., a counsellor-at-law of York. Of all the archival sources, it is thus the list of books which gives us the most detailed insight into his life.

It is not entirely surprising that the inventory begins with “One large bible in folio”. The bible would have been a vital part of any 17th-century book collection, and the mention of its large size and format, as well as its relatively high value of 16 shillings, emphasises the primary importance of the scripture in Havelock’s collection. Moreover, the attention to its physicality reminds us that books were also objects to be valued for their aesthetic qualities. Next comes the most expensive book in the inventory, John Foxe’s influential Protestant martyrology called Acts and Monuments (here referred to by its popular title, The Book of Martyrs). This massive folio, full of distinctive woodcut illustrations, was given the value of £1 6s 8d - more than the price of the sword with a silver hilt that was among Havelock’s possessions at Berwick upon Tweed.

The ordering of the books in the inventory tells us a lot about the importance that was assigned to them. From these and other large-format works of theology and history, the inventory moves on through a mix of quartos and octavos, and finishes with an undifferentiated group of “83 little books besides” as well as a bag of songbooks. Whether or not this seemingly hierarchical arrangement was how Isaac Havelock organised the books in his house, we cannot know for sure. While inventories tended to reflect the layout of goods in a house, the historian Donald Spaeth has recently explored the ways that their order and arrangement could be dependent on the methods of individual appraisers or local conventions.


Woodcut illustration of the burning of John Rogers, the first victim of the Marian persecutions in England. From the first English edition of Foxe’s Book of Martyrs. (Wikimedia Commons / Public Domain)

The Bible and Foxe’s Book of Martyrs are a fitting beginning to a list that paints a picture of someone well-read in a variety of Protestant writings. Havelock owned a range of works by important figures in the Reformation from across Europe. These included the works of William Tyndale, whose English translation of the Bible played an important role in the English Reformation; an edition of the New Testament by the French reformer Theodore Beza; the Commonplaces of the Italian-born Peter Martyr Vermigli, a standard textbook of Reformed theology; and the Meditations of the German Lutheran Johann Gerhard. He also owned a copy of De civitate Dei by Saint Augustine, whose works had become popular among Protestant reformers.

In addition to these pan-European religious bestsellers, Havelock had had an interest in vernacular works of popular devotion. Among these were Lewis Bayly’s hugely popular religious self-help book The Practice of Piety, John Norden’s A Poore Mans Rest, and treatises and sermons by the Puritan preachers William Cowper, Richard Stock and John Dod. He also possessed a copy of George Herbert’s collection of religious poetry, The Temple. However, the inventory isn’t uniformly Protestant. Havelock owned The Passions of The Mind, a treatise on the passions written by Thomas Wright. Wright, born in York to a Catholic family, was a Jesuit who had spent much of the 1590s imprisoned in York due to his recusant activity.

In the fore chamber of his house in York, the same room that contained his desk and writing materials, Havelock had a “large mapp”. As this is listed in the same entry as “a woodden frame with pictures”, it is tempting to imagine the map hanging on the wall above him as he sat writing, perhaps providing a window onto distant lands. From his books, it does seem that Havelock had a particular interest in travel and the world - and in particular the Middle East. His library contained Heinrich Bünting’s popular Itinerarium Sacrae Scripturae, a book describing the geography and landscapes in which biblical events and journeys took place. He owned an account of the travels of George Sandys, son of Archbishop of York Edwin Sandys, which included a map of the Middle East along with lavish illustrations of Constantinople’s skyline, the Egyptian pyramids, and the Church of the Holy Sepulchre in Jerusalem. More sensational was an account of the travels of the Scotsman William Lithgow, whose journey by foot through Europe to the Middle East and North Africa purportedly involved daring escapes, shipwrecks and encounters with pirates.


A map of the holy land from the 1585 German edition of Heinrich Bünting’s Itinerarium Sacrae Scripturae. (Wikimedia Commons / Public Domain)

These travel narratives are complemented by other larger-scale works of world history and geography by John Swan, Peter Heylyn and Walter Raleigh. Together, their variety demonstrates that the early modern interest in the world wasn’t solely restricted to the category of knowledge we now call geography. These books ranged from biblical history to current affairs, carefully sourced scholarship to highly personal accounts, and indeed from fact to fiction - the authoritatively-titled History of Trebizond in Havelock’s library was actually a collection of romances.

The rest of the inventory suggests that Havelock’s reading covered a wide range of subjects.
Law is well represented; he owned books of statutes and decrees, a manual on the role of justice of the peace, and the earliest treatise on women’s rights in English known as The Womans Lawyer. He owned a large chronicle of British history from the Roman conquest, as well as two histories of the reign of Elizabeth I. An interest in Latin authors is suggested by a translation of the Roman historian Justin, a copy of what is likely to be Lucan’s epic poem on the Roman civil war, and a parallel translation of the Distichs of Cato - a popular schoolbook for teaching Latin. We may also wonder about Havelock’s connection to music, as he owned a bible “with singing psalmes”, an Introduction to Practicall Musicke by the composer of madrigals Thomas Morley, and a bag of songbooks valued at a pound - although there is no mention of any instruments in his possession.

Where would Havelock have got these books from? At the time of his death, no books had been printed in York for more than a hundred years, and it would be another two before King Charles brought the royal printer to York at the onset of civil war. Rather, Havelock’s library was made up of books printed in the centres of the early seventeenth-century print trade in Britain. Most came from London, a number from the two university cities Oxford and Cambridge, and at least one of his books was printed in Edinburgh.

However, he wouldn’t have needed to travel far to get his hands on them. York was part of an impressive distribution network for books that stretched across the country and beyond, and the Minster Yard was home to a number of booksellers, bookbinders and stationers. The inventory of John Foster, the owner of one of these shops who died in 1616, attests to the scale of the trade. His stock included three and a half thousand copies of over a thousand titles, with books printed as far away as Venice, Zurich and Lyon. In fact, a number of books in Havelock’s inventory match titles that were on sale in Foster’s shop, suggesting he may have been a regular customer.

Can this list of books tell us who Isaac Havelock was? The inventory gives us an impression of a wealthy protestant reader, who was buying books well into the last decade of his life: a man who was interested in the wider world, history, and law. His library, writing equipment and the “3 dozen of parchment skinns” listed alongside his books suggest that literacy was an important part of his profession. He may have been involved in music-making, either in connection with the Minster or one of York’s many other churches.

However, there are also significant gaps in the information provided - what were the 83 “little books besides” that the appraisers didn’t list by name? Nor does the inventory tell us anything about the social lives of the books. Reading was frequently a social activity as books were read aloud or passed among friends, but we cannot know about the other women or men who interacted with Havelock’s library. Finally, we all know that the books on our bookshelves can mean different things to us. Some we buy for pleasure, others profit. Some we read once, others we return to time and time again. Some books change our way of looking at the world, others reinforce what we already believe. The book historian David Pearson entreats us to bear this in mind when researching books and their readers: “We should think of these libraries not so much as mirrors of the particular interests of their owners, but more as platforms or springboards from which their own ideas and perceptions of the world developed” (2010: 159). Nonetheless, Isaac Havelock’s inventory offers a remarkable insight into seventeenth-century York’s literary world.

A transcription of the whole inventory with a glossary is available here.

Bibliography

Barnard, John, and Maureen Bell, ‘The English Provinces’, in The Cambridge History of the Book in Britain, edited by John Barnard and D. F. McKenzie, with Maureen Bell, vol. 4, (Cambridge: Cambridge University Press, 2002), pp. 665–686.

Pearson, David, ‘Patterns of Book Ownership in Late Seventeenth-Century England’, The Library, 11.2 (2010), 139-167.

Spaeth, Donald, ‘“Orderly Made”: re-appraising household inventories in seventeenth-century England’, Social History, 41.4 (2016), 417-435.

Tillott, P. M., ed., A History of the County of York: the City of York (London: Victoria County History, 1961).

Winters, Jennifer, ‘The English provincial book trade: bookseller stock-lists, c.1520-1640’ (unpublished doctoral thesis, University of St Andrews, 2012).

Wednesday, 3 August 2016

Archives on Loan

This is a guest post by Catherine Dand, a Conservator at the Borthwick Institute.

Our Conservation department is pleased to report that we have a number of archives and special collections that will be going on loan this year. Loaning archival material, especially for the purpose of display, is an exciting way to increase access to the archives. It is an excellent opportunity to raise awareness of our collections, and to build up context and associations for our archives, giving them greater depth.

Our largest loan request this year was from Fairfax House in York. Fairfax House has asked to borrow 4 books and 1 pamphlet from the University of York Special Collections and 4 objects from the Retreat Archive at the Borthwick Institute, to be displayed in their exhibition In Pursuit of Pleasure: The Polite and Impolite World of Georgian Entertainment, which runs from Friday 29th July to Saturday 31st December 2016.

The conservator’s role in the loans process is to reduce the risks that the archives might face while away from home. This can take various forms.

Fig. 1 Sample page from UKRG Facilities Report
  • Initially we need to gather details about the loan that could impact on the safety of the archives. We want to ensure that security has been fully considered at all stages of the loan, including transport, storage, access and display. We would request information about the environment that the archives will be stored and/or displayed in, which would take into account aspects such as temperature and humidity, light levels and exposure, and fluctuations in these environmental factors. We would also want to know what materials the display cases, mounts or supports will be made from, to check that they are appropriate and there will not be anything that might damage the archival materials.

Often facilities reports will be filled in and returned to us, which provide most of the information outlined above (fig.1). Fairfax House sent us a facility report along with 2 supplementary reports – one on security and one on display cases – which addressed almost all of our questions very quickly. Any extra enquiries can then be easily answered.

  • If there are any concerns with the information that we have gathered, our first response is to look for solutions to problems and ways to work around any issues. If we can be helpful, we are keen to provide advice and support to the people and/or organisation that will be responsible for the archives while they are on loan.
There were no obstacles to the Fairfax House loan, but as they will be providing their own mounts and supports we were able to offer advice and suggestions on these aspects from our condition reports (see below). Previous loans to other organisations have included the additional loan of equipment such as display cases, book rests or weights, as well as environmental monitoring equipment such as data loggers to record temperature and humidity, blue wool samples to monitor light exposure or simple Oddy testing materials to check for off-gassing.

Fig.2 Photographic documentation
  • Each item requested for loan is condition assessed to confirm that it is in adequate condition for the purpose of the loan. We will undertake written and photographic documentation of each item, which should effectively communicate the structure and materials of the item and the condition of these different aspects (fig.2).
Accurately recording the condition of items before they leave the building is also the only way in which we can monitor any changes that may occur while they are away. The vast majority of loans are made to people who are careful with the archives, but there have been occasions where carelessness or lack of knowledge has led to damage. If we are aware of what has happened then we can prepare for it better next time.

Assessment also gives us the opportunity to highlight any specific advice or cautions with regard to individual items and the purpose of the loan. If a volume requested for exhibition is very large or has a restricted opening and extra thought will be needed regarding a book rest, this can be passed on. If the item has been requested for access but the materials are too unstable to be handled, we can discuss what the options are.

As Fairfax House had decided to provide their own book supports, our condition reports allowed us to make recommendations as to the maximum angle of safe opening for display on books that have a restricted opening or damaged joints. It also gave us the opportunity to highlight any particular damage or weaknesses – forewarned is forearmed!

Fig.3 Page requested for display is detached
  • Once we have assessed the items conservators can also undertake any treatments to ensure that the items are as stable as possible for the loan.
One of the volumes requested for the Fairfax House exhibition had several detached pages, one of which was the page selected for display (fig.3). The volume does not open freely, and straps will be required to keep the book open at this page; therefore the loose, protruding pages could be at risk of damage from both handling and the straps. All detached pages were reattached to the volume.

This book also had a detached back board. It was decided that it was not necessary to reattach the board for the exhibition. As long as the board is carefully positioned on the book support, it will still be able to provide the necessary support for the textblock while the volume is on display. The damage has been noted, and this information will be stored on our Work Required database, to be addressed in the future.

Fig.4 Packaging objects for loan
  • Finally, conservators package loan items to ensure that they are transported safely. Usually this will include: individual packaging for each item; a box for easy transfer; padding within the box to stop the items moving around and to provide an environmental buffer for the items; and a plastic covering for the box in case it rains! 
Sometimes packaging for loans needs to be more extensive. Fairfax House has requested a number of un-accessioned objects from the Retreat archives, including various manacles and restraints. It was necessary to rethink their packaging, to ensure that the items were secure during transit. Layers of Plastazote were built up to create a mould for each item, and these slotted together in a box (fig.4). The mould for each item is still separate, and so items can be stored in individual boxes on their return to the archive.

The exhibition at Fairfax House opens on Friday 29th July, and we are excited to see the items on display. If you get a chance to attend, see if you can spot the items that have come from the Borthwick and the University Special Collections!

For more information on the Fairfax House exhibition In Pursuit of Pleasure: The Polite and Impolite World of Georgian Entertainment, please see our news page.

Friday, 8 January 2016

Borthwick Publications: George Harris and the Marketing Revolution at Rowntree

BIA Rowntree Guardbook T5
Kit Kat advert, 1937

George Harris and the Marketing Revolution at Rowntree

Ralph A. Kaner

Borthwick Paper 125

BIA Rowntree Guardbook B11
Black Magic advert, 1933
  George Harris was a confectionery manufacturer who is generally credited with the renaissance of the York-based Rowntree business during the 1930s. This paper is an account of Harris’s life which begins by tracing his involvement in World War I through to to his marriage in 1923 to Frieda Rowntree.  Enrollment in his new wife’s family business followed and he rose through the company to the Group Board and then Chairman from 1941 to 1952. The volume continues chronologically through landmark launches of classic chocolate brands such as Black Magic (1933), Aero (1935), Kit Kat (1935), Dairy Box (1937) and Smarties (1938).  The development and marketing of these brands by Harris are placed within the context of shifting economic and national circumstances between the two wars.  

The paper’s author is Dr Ralph Kaner who is a former Director of Rowntree & Co. Ltd.  Kaner notes that whilst no formal building or dedications mark George Harris’s contribution to the City of York his transformation of Rowntree and the prosperous growth that took place during his time with the company was extremely important. His achievements as a pioneer of British marketing were undoubtedly influenced by a formative visit to the United States in 1925-26.  Hallmarks of Harris’s approach included a drive for product innovation, quantitative consumer research and creative advertising. A lasting legacy of all these efforts was the success of the high-quality brands that Harris developed and the fact that they remain well-known global brands to this day.

The volume is published by Borthwick Publications and copies are available through our online store priced at £5.00.



Monday, 24 February 2014

Judging a Book By Its Cover


Nowadays many books are produced with a ‘perfect’ binding where the pages are stuck to the spine and invariably split open as soon as any pressure is applied. They are still the common book shape we are all familiar with but they are very different to books printed before 1801. Until the early nineteenth century bindings were all made by hand so each one is unique.

Books were produced by printing on a large sheet of paper and then folding, cutting and sewing the sheets to make the familiar book shape.  The size of the book depends on how many folds are made, so for a quarto the page is folded four times and for an octavo eight times, and so on. The text block that has now been created needs something to protect it and keep it clean and the best and most efficient way of doing this is to provide a rigid board front and back covered with a material such as leather.  You end up with a space that can be decorated in any way you want.
Sewing structure of a binding

This picture shows a book which has lost its spine showing the sewing structure. You can see the different gatherings of pages laid next to each other. The large thick cord is what is holding the boards on and providing a stable mount for the pages to be sewn onto.

There are many different sorts of bindings and fine bindings actually only represent a tiny proportion of those surviving, but their beauty and craftsmanship mean that they never fail to delight. There have been many wonderful binders through the ages some known only through their distinctive work such as the ‘Centre Rectangle Binder’, or the ‘Small Carnation Binder’ but there are other names that we can identify.

This is an early binding designed by Dante Gabriel Rossetti. It was for a book of his sister Christina’s poems.  

Rossetti was a poet, painter, and  illustrator among many other talents. His work with its clean pure lines influenced the generation that came after him including artists such as William Morris. Rossetti’s art was also characterised by his love of all things medieval and this binding is a good example of that.  The book is bound in smooth green cloth and has then been gilded, the design pressed into the surface with hot tools with gold leaf between the tool and the leather. The design wraps round the spine so is best seen when the book is open. The lines coming out from the spine top and bottom suggest ornate hinges and the small gold circles could represent the nail heads that would have held book clasps or furniture on a medieval binding. The design was developed over several months in 1865-1866. Rossetti had also done the design for Christina’s first book of poetry, Goblin Market, and this is similar in style with the small gold circles, although the lines for that book were straight not gently curved as in this binding.
 
The second named binding is from the beginning of the 20th century.
 
Sangorski & Sutcliffe were early 20th century bookbinders famous for using precious stones and metals in their extravagant bindings. One of their most famous creations was on a copy of the Omar Khayyam and was known as the Great Omar. It was a beautiful binding featuring golden peacocks with jewelled tails but sadly Great Omar went down with the Titanic and has never been recovered. A second copy was made but was then destroyed during the Blitz in World War Two. Undaunted, a third copy was produced and, to date, this resides safely in the British Library.
 
Although, at first sight, this seems one of their less ornate bindings, the design, fashioned by inlaying different coloured leathers, creates a real sense of movement among the rose stems.

Sangorski and Sutcliffe binding for The Hind and The Panther by Dryden

The binding is not contemporary with the book which was published in 1697. It is a poem by John Dryden called The Hind and the Panther and was written after his conversion to Roman Catholicism. The poem is an allegory with the hind representing the Catholic Church and the panther the Church of England.

It is interesting to speculate as to why this style of binding was chosen for the book. The tortuous thorny rose stems ending in the tight red rosebuds might be a metaphor for the struggle Dryden had to undergo, hiding his true religious beliefs until he was able to openly convert under James II. The use of roses as a symbol of achievement and completion is well established. After having battled with the long thorny stems, the toiler is rewarded with the beauty and the fragrance of the flowers. The rosebud represents beauty and purity and the rose leaves denote hope.  However the binding was put on over 200 years after the book's first publication so perhaps the owner just liked the design!
These and many other examples of fine binding can be found in the display cases along the Harry Fairhurst corridor in the University of York library.  The exhibition will be in place until the end of April 2014. For more information please contact Sarah Griffin, Special Collections Librarian at sarah.griffin@york.ac.uk
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This post was written by Sarah Griffin, Special Collections Librarian at the University of York.
 
Don't miss Sarah's free talk on the Special Collections of the University of York, "A Journey Through the Pages" on Thursday 6th March 6.30pm (drinks and canapés from 6.00pm), in LFA 204/205
 
To register for tickets go to http://bit.ly/journeythroughthepages