Posts with the tag: Archives

The Archivist’s Nook: Reflecting The Renaissance – Andrea della Robbia’s Annunciation

The following is a selection from Catholic University student Moira McCoy’s class paper on Andrea della Robbia’s Annunciation, a piece of Renaissance-era Italian art held by Special Collections at the University. Ms. McCoy’s piece was submitted as an assignment for Professor Tiffany Hunt’s course ART 272: The Cosmopolitan Renaissance and edited by Special Collection’s Dr. Maria Mazzenga. The students used art from the University collections for their papers.

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Andrea della Robbia’s Annunciation is a prime example of the movement of Renaissance art from the late fifteenth century into the present-day world. This terracotta relief sculpture, currently displayed at The Catholic University of America, has very little documentation prior to its donation to the University in 1960 by Mr. Arthur T. Roth. This piece was created for a Florentine audience, but we might ask how the message of this art piece changed throughout time and location.

Figure 1: Metal Plaque shown on the wooden shelf of Andrea della Robbia’s Annunciation as displayed at Catholic University of America.

The Annunciation’s archival file in Special Collections offers a foundation for research. Though Robbia’s Annunciation is not extremely well documented, readers do get a general idea of the artist, the donor, and other aspects through the file. There is no signature of the artist that tells us for certain that this is an original Andrea della Robbia, though the metal plaque on the bottom of the sculpture is associated with the Florentine sculptor (Figure 1). This sculpture has little known transaction prior to its donation to the University in 1960. There appears to be no documentation of how Roth, a prominent New York banker, purchased the Robbia sculpture, indicating that the piece may have itself been a gift to him.

Along with the file is information about the artist, Andrea della Robbia. His role as a sculptor under the influence of his uncle, Luca, lead us to understand that the Florentine artist’s pieces were to attract the local audience. Personal research shows that there is very little evidence of Robbia pieces in the western world today, indicating that they were primarily meant for the Italian viewers of the fifteenth century. There is no confirmed date of completion of Andrea’s Annunciation, nor is there information on this specific piece on public online sources. When viewing the object file, the date of execution is vaguely indicated as “fifteenth century (?).” Of the pieces in Florence today, there is a highly designated purpose that these pieces fulfill. Andrea della Robbia appears to be a sculptor of religious scenes primarily, as most pieces are in correlation with religious institutions. Many of these pieces remained in Florence due to the sculpture type, as they are attached to their original space, and removal would be difficult.

Figure 2: Front view of Andrea della Robbia’s Annunciation, terracotta relief, late fifteenth century, Catholic University of America.

The Annunciation appears to the viewer in a semi-circular arch with a peaked top, (Figure 2). At first glance, viewers may find this piece to have little detail due to the dominating white-blue color tones of the sculpture. The deep, muted blue provides a background to the whitened figures of Mary and Gabriel, as well as other features such as the dove, flowers and vase. This blue background is also the deepest layer of the relief whereas the white objects and figures appear in the higher relief layer. But why use these two tones as the main colors of the piece? It is believed that the cerulean blue and ivory white color scheme is a trademark of the Robbia workshop founded by Luca della Robbia, Andrea’s uncle. These colors are functional and unique colors which mark all pieces from the Robbia. In other pieces, such as Luca della Robbia’s Resurrection (Figure 3), we are sampling the earlier model of this blue-white glazing technique that is constant in all Robbia works, including a brighter green to the work for forestry and brightness. A secondary claim as to why these colors are utilized is in the remembrance of the Florentine aesthetic of the Renaissance. The memory of Florentine Renaissance leaves us with the idea of Humanism and the imagery of the Florence artists’ personal touch. Nineteenth-century essayist Walter Pater wrote on Luca della Robbia’s use of blue and white terracottas, stating that “…nothing brings the real air of a Tuscan town so vividly to mind as those pieces of pale blue and white earthenware . . . like fragments of the milky sky itself, fallen into the cool streets, and breaking into the darkened churches..” (1) which reinforces the statement that the use of these duochromatic palettes in the Robbia art space are reminiscent of the Florentine art style and appeal to the fifteenth century audience. The last claim is the significance of the subjects, and the importance of these colors in a religious sense. Though there is a paragraph on the religiosity of the scene ahead, it is important for researchers to understand how the light blue is seen in many different versions of the Annunciation pieces, from Northern territory artists such as van Eyck to the Italian Fra Angelico. The blue is often associated with Virgin Mary whereas the white is to symbolize the purity of the Annunciation scene, with iconography of white lilies and a dove. Overall, it is important to note that something as simple as the color palette connects to the location of Florence, the iconography of religious symbols and figures to the individualism of the artist.

Figure 3: Luca della Robbia, Ressurection, polychromed and glazed terracotta,1442-1445, Duomo di Firenze.

A major feature of Andrea della Robbia’s artwork and style is his material use and glazing techniques. Terracotta is a form of clay-based material that is fired under extreme heat to solidify into a ceramic texture. This clay is found in many parts of the world, such as Asia, the Mediterranean & Africa, and is used in pieces from sculptures to brick making. Its application in Renaissance art was popularized by Ghiberti and Donatello during the early fifteenth century (2). Terracotta was used for two main reasons. First, the Mediterranean region where it existed was accessible to Florentine artists. Second, the clay material was easily pliable for artists of the era. The soft shape of the material allowed artists to decorate and create free flowing shapes very different from metals, marble, and other resources. Andrea was introduced to the making of terracotta sculpture while an apprentice to his uncle Luca. Luca’s innovation of developing glazed and colored terracotta that, when fired with glazes, would fuse with the clay underneath and result in brightness and shine. Furthermore, Andrea’s improvement in the creation of these enameled figures was to leave the face, hands and other parts bare. The emphasis of polychrome, or multiple colors, on Andrea’s pieces gives the Florentine artist a sense of individuality within the della Robbia workshop.

Andrea della Robbia’s Annunciation was made as a religious motif that includes all of the classical iconography of the biblical scene of the Annunciation of Mary with Gabriel. The event takes place when Gabriel the Angel descends to the Virgin Mary and announces that she will bear the child of the Holy Spirit, reiterated in the Book of Luke. The Holy Spirit is symbolized by a dove or rays of light in these scenes whereas the inclusion of white lilies is the symbol of the Virgin Mary, indicating her purity. Specifically in Andrea’s Annunciation, we see all four of these characters. Gabriel and Mary face each other with a vase of lilies filling the space between them. Above head, a swooping dove represents the Holy Spirit. Even if the viewer does not know the name of the art piece, these subjects tell the story of the Annunciation. In the Renaissance eye, the Annunciation scene was popularized to portray the old to new transition through the world, just as the change from the Old to New Testament. More importantly, the Annunciation connects with the Renaissance ideology of a new age of religion and mankind. Appealing to the Franciscan ideals of contemplation upon art, Andrea conceived many of his pieces to the influence of Franciscans in Florence during the Early Renaissance period. Contemplation of art allows the viewer to meditate on the Annunciation scene, which can evoke the reliving of the biblical event to the viewer and give a sensational understanding of the Holy Spirit’s role during the Renaissance era. Furthermore, the role of Gabriel could be the concept of Renaissance, or rebirth, who is appointing new changes upon the Virgin Mary, symbolizing the European society of the times.

The function of this art piece is to appeal to the religious perspective of its audience. Though we do not know the original location of this piece, many parts of this terracotta sculpture tell us that this was made for a religious institution and serve the purpose as a religious piece. Other than the obvious iconographic traits of this piece, the shape also indicates an interesting aspect. The arching shape with the semi-pointed top, known as a tympanum, is noticeably similar to the shape of Luca della Robbia’s piece Resurrection, a terracotta piece that is found above the left sacristy in the Cathedral of Santa Maria del Fiore (Fig. 3). The shape of tympanums have changed drastically through time and with the ideas of reconnecting with the classical Roman features, the shapes of the Andrea and Luca della Robbia pieces act not only as a symbol of Renaissance art, but also gives researchers some insight that Andrea’s Annunciation may have been originally placed or created as a tympana for a religious site or church. What appears as a little detail actually gives lots of context to the religious function.

Andrea della Robbia’s Annunciation allows viewers to gather insight as to how important documentation is for pieces of historical artwork. With the thin file and little to no information on the actual piece itself, the interpretation of the piece relies on the audience members to recognize the iconography and biblical importance of this scene. Being able to comprehend the symbolic message of this terracotta sculpture was a task for this viewer, as it was a noticeably religious scene and would have been reinforced by the original location. The world of Florentine Renaissance highlights the importance of rebirth and return to the humanistic view of antique Greek and Roman society. The Renaissance was a new turning point for Europeans in means of politics, society, literature and philosophies and though that time has passed, the significance of Andrea della Robbia’s Annunciation has not lost its importance, but merely been lost to time and underappreciation for the original Florentine piece.

Sources:
(1) Pater, Walter The Renaissance: Studies in Art and Literature, February 1873. Page 63-72

(2) Victoria and Albert Museum, “Italian Terracotta Sculpture,” Italian Terracotta Sculpture (London September 4, 2013)

 

The Archivist’s Nook: Curation, Campus, and the Classroom

Special Collections has shared the University’s treasures with many classes from many schools and departments over the years: History, Library Science, Religious Studies, Anthropology, and Education among them. While we often use our museum collection materials for instructional purposes, we were privileged with our first visit from a class in the Department of Art, Rome School of Music, Drama and Art just this semester.

Professor Tiffany Hunt brought students from her course, ART 272: The Cosmopolitan Renaissance, to Special Collections this month to explore pieces dating from the 1400-1600 period. Because many of the University’s works of art hang in the classrooms, offices, and corridors of the school, this archival visit was actually a campus tour. Professor Hunt’s goal was to have students embark “on an object-based art history research project that begins with a deep engagement, slow looking, and critical analysis of 11 art objects from the early modern period (1300-1600).”

Professor Tiffany Hunt uses the University’s art collection to instruct ART 272 students in the Archives reading room in Aquinas Hall, February, 2022.

The University’s museum collection, from which the pieces were drawn, is comprised of more than 5,000 objects, with the first donations of museum items dating to before the school  opened in 1889. Up until 1905 the collection was displayed in Caldwell Hall. Starting in 1905 and continuing until 1976 parts of the collection were either displayed in McMahon Hall or Mullen Library, or were put into storage. In 1976 the university museum collection was put under the management of the archives and the collection was housed in Curley Hall vault, with items being used in campus exhibition or loaned to campus offices to be displayed and enjoyed as office decoration. The students in ART 272 focused on objects currently housed in Special Collections repositories, the archives’ reading room, Curley Hall, Salve Regina Hall, and Nugent Hall.

 

Catherine Coyle, one of ART 272’s students, notes that “the pieces I saw in the collection helped to illustrate the theme of connectivity of objects and styles that we have been discussing in the course.” Underscoring the “cosmopolitan” aspect of the course, Coyle notes that “all of the objects in the collection are connected to the era of the Renaissance in Italy, but they also visualize the movement of influences across the Mediterranean and even the East. The experience of having the ability to see these connections firsthand through the objects gave me the opportunity to fully see how expansive the Renaissance was.”

Some are surprised at the beauty and abundance of  furniture present in the Museum collection. This piece, which students examined as part of the Cosmopolitan Renaissance class, is a Spanish antique wood cabinet dated ca. 1550-1600.

 

Some students were surprised at the scope of the objects in the University’s collections. Annaliese Haman observed that “the furniture pieces surprised me. I knew that furniture had much to say about the time it was created as well as the materials available, but after the brief discussion and visit to the Archives, I was more intrigued by furniture and its uses for research and for its uses during the Renaissance.”

Students examine a terra cotta Madonna and child by Antonio Rosselino ca. 1450-70. The piece is located in Curley Hall.

 

Haman chose a painting of the Madonna and Child hanging in Salve Regina Hall for her deep analysis. Why that particular painting? I asked her. “it was close to my dorm,” she wrote,”and I wanted to research a painting. Because this piece is located in Salve Regina, I can go and view it on a frequent basis which was wonderful to be able to do. After I learned St. Genesius was pictured in the piece, I got very excited, as I have a special devotion to him.”

 

 

 

In fact, Haman recounts some of the painting’s colorful history, including a connection to the psychic, astrologer, and Washington, D.C. resident, Jeanne Dixon (1904-1997). You can read more about the ART 272 students’ adventures with their various works on Professor Hunt’s course website here: https://hunttl.wixsite.com/website. Additionally, we will publish selected works by the students here at The Archivist’s Nook in the coming weeks.

ART 272 student Annaliese Haman chose to examine this Madonna and child painting hanging in Salve Regina Hall, for which she found a rich and interesting history.

Sources:

  1. Professor Tiffany Hunt, The Cosmopolitan Renaissance website: https://hunttl.wixsite.com/website
  2. Email communications between Maria Mazzenga, Catherine Coyle (March 14, 2022), and Annaliese Haman (April 8, 2022).

 

 

The Archivist’s Nook: Many Voices, One Church: Archiving the Cultural Diversity Committee of the USCCB

Hannah Kaufman is a Graduate Library Pre-Professional (GLP) at The Catholic University of America, who also works in Special Collections.

Since starting my position as the new archives GLP, I have been working on the finding aid for the USCCB/NCCB Secretariat for Cultural Diversity. Having never created a complicated finding aid before, I took one look at the 25 boxes that made up the collection (with more, Catholic University archivist John Shepherd assured me, possibly on the way) and felt a little overwhelmed. However, after spending a little time browsing other finding aids and getting acquainted with the boxes themselves, I began to feel a little better.
This collection could be easily divided into two distinct ‘series’ or categories within which archival material is organized. Although all diversity task forces were merged under a new Secretariat of Cultural Diversity in the Church, the Hispanic Catholics and Black Catholics subcommittees of USCCB were originally their own distinct entities and are thus easy to differentiate. Armed with a preliminary inventory done by a former practicum student, I set to work identifying which boxes contained which materials. A few things quickly stuck out to me. The materials devoted to Hispanic Catholics were generally older, and there were fewer to sort through. My still lingering trepidation over the amount of material I would be working with was certainly a part of my decision when deciding how to organize the collection, but in the end the materials’ age was what convinced me to put it first. All of the Hispanic Catholic materials date from the seventies and early eighties, with only a few exceptions. Meanwhile, the Black Catholics materials issue from the eighties up to the early two-thousands. Although within the series, material organization is prioritized alphabetically, I decided to organize the series chronologically, as it felt more intuitive to have the older organization first in the finding aid.
The Secretariat for Hispanic Affairs (directed by Paublo Sedillo for the duration of the papers currently held in the Catholic University Archives) came as a result of one of the recommendations of the First Encuentro. It called for the then USCCB Division for the Spanish Speaking be upgraded to that of a special office directly under the USCCB’s General Secretary. The Encuentros were events designed as a way of reaffirming the Hispanic Catholics’ place in the faith, both for themselves, and for the Catholic Church. Encuentros often spawned other events which drew off the energy the anticipation for these events wrought, such as the pilgrimage to the Shrine of Guadalupe, in Mexico, 1984. Each event culminated in the creation of a pastoral document presented to the church, with a plan for creating a more welcoming environment within the church for Hispanic Catholics, as well as expanding involvement within Hispanic Communities. A significant amount of materials in this collection are devoted to the planning and production of these Encuentro events.

Logo used for the Third Encuentro in 1985 which appeared on posters, pamphlets, and facilitator guidebooks to name a few.

 

But the Secretariat for Hispanic Affairs did much more than plan Encuentros. Other examples of material one can find in these records include campaigns to protect migrant workers, to fight against welfare cuts, to push for positive immigration reform, and to denounce racist policies. There are also pastorals, papers, and a large collection of audio visual materials containing, among other things, Spanish liturgy and sermons.

Bishop Patrick Flores, the First Mexican-American Bishop, addresses the First Encuentro, June 1972.

The Secretariat of African American Affairs papers hold some content similar to that of the Hispanic Affairs papers, in that it consists of the efforts of a group of people which had historically not been prioritized by the Catholic church working together to amplify their voices. These papers contain talks and interviews given or conducted by Beverly Carroll, surveys on the numbers of Black priests serving in the United states, and records of both Bishops’ Committee on African American Catholics materials and National Black Catholic Congresses.

 

 

The later National Black Catholic Congresses was numbered in homage to the Colored Catholic Congresses held in 1889. As there were five of these, the numbering of Black Catholic Congresses started at number six, to show that they were building off the work done in 1889.

Additionally, the collection deals with issues being faced by Black Americans both inside and outside of the church. There are several folders devoted to the effects of racism and ways to combat it, as well as the AIDS crisis, by which Black people were disproportionately affected. The collection contains ways to combat and ameliorate these issues, both through legislation and volunteer work, as well as through community support and prayer for victims.

A leaflet from the Maryland Teachers Association for Black History Month in the African American History Month 2000 folder of this collection.

There are also records for events and information distributed by the Secretariat of African American Affairs for Black History month, and research and materials on Black theology and Black liturgy, as well as publications such as The African Bible, or the Black Biblical Heritage, all of which seek to celebrate Black Catholics and demonstrate that their place in the faith has been there since its very beginnings.
Looking over my finding aid, you may notice that the first half, devoted to the Secretariat of Hispanic Affairs, is intensely specific. It seems almost as though each file has been labeled individually and put in its own folder. That’s because this is mostly what I did. As an archivist in training, I fell victim to the same mistake many new archivists do: over processing. This collection is important; I knew that and I didn’t want to miss anything, or cause a researcher to miss anything, through my negligence. By the time I reached the Beverly Carroll files, I knew better. Ms. Carroll was assiduous with her filing, and all the folder titles for the second half of the finding aid are predominantly of her own making. Indeed, it was Mrs. Carroll’s careful filing (she often wrote the location of the paper she wanted to preserve on the corner of the page with a ballpoint pen) which helped me realize I should be focusing more on the original order. This is not to say that Mr. Sedillo was not well organized, rather that sometimes you need something spelled out for you (in the corner of a page. With a ballpoint pen). After I realized this, I simply removed paper clips and staples and re-foldered them into acid free folders. I learned a few important lessons here. The first is to trust researchers to be able to find what they’re looking for, and the second is to learn when you can trust the original owner of the work you’re processing as well. After all, Mrs. Carroll had a good system, one that made sense to her and that she was careful to preserve. Why destroy that, when that organizational context adds so much to each piece of the collection?
One of the primary functions of an archive is to hold recorded history, so that someone can come back years later and examine that history. I cannot help but think about this purpose in conjunction with these two groups’ work to be recognized as they deserve in the Catholic church, to assert that they have always been valuable members of the Catholic community. They have always been here, and this collection is yet another resource that people can point to as documented evidence of a long term commitment by Black and Latinx Catholics to their committees, to their faith, and to themselves.

Marquette Archives. (n.d). Inculturation Task Forfces Records of the United States Conference of Catholic Bishops. [Finding Aid]. Inculturation Task Forfces Records of the United States Conference of Catholic Bishops, Marquette University, Milwaukee, WI. https://www.marquette.edu/library/archives/Mss/ITF/ITF-sc.php.
Sharpe, R., (1997). Black Catholic Gifts of Faith. U.S. Catholic Historian, 15(4), 29-55. https://www.jstor.org/stable/25154603
Tampe, L.A. (2014). Encuentro Nacional Hispano de Pastoral (1972-1985): An Historical and Ecclesiological Analysis [Unpublished doctoral dissertation/master’s thesis]. The Catholic University of America. https://cuislandora.wrlc.org/islandora/object/etd%3A417/datastream/PDF/view.
Tilghman, M. T. (2021, November 29). Former USCCB official and leading voice for Black Catholics dies at 75. Catholic Standard. https://cathstan.org/news/us-world/former-usccb-official-and-leading-voice-for-black-catholics-dies-at-75.
United States Conference of Catholic Bishops. (n.d.) Cultural Diversity in the Church. https://www.usccb.org/committees/cultural-diversity-church.
United States Conference of Catholic Bishops. (n.d.) Timeline 1917-2017. https://www.usccb.org/about/usccb-timeline-1917-2017.

 

 

 

 

The Archivist’s Nook: The Not So Small World of Terence V. Powderly

 

In January, 2000, the U.S. Department of Labor held a ceremony in Washington, D.C. to honor Terence Vincent Powderly (1849-1924), the 1999 Labor Hall of Fame inductee. He joined fellow Hall-of-Famers such as rival Samuel Gompers, friend Mary Harris “Mother” Jones, and fellow Pennsylvanian and labor leader Philip Murray. The Labor Department Report announcing the honor referred to Powderly as a “little known leader,” then went on to delineate his accomplishments. Powderly himself might have been a little offended at the reference to his obscurity, and not without cause. He was an extremely popular leader in his time. People wrote celebratory songs and poems about him and hung his portrait in their homes. He was often greeted with cheers and celebration in his extensive travels promoting the Knights. William Mullen, a Knights leader and organizer in Richmond, Virginia, named his son Terence Powderly Mullen when the boy was born in 1885. With many, many friends in the labor movement, and as a committed leader who cared about individuals ruthlessly exploited by corporate power, Powderly can be understood as a representative of the collective will of late-nineteenth century labor. We have selected objects from his voluminous collection, housed at the University’s Archives, for a display open to the public in the Archives’ Reading Room on the centenary of the penning of his autobiography, The Path I Trod.

Terence Vincent Powderly, 1849-1924, in an undated photo from the Terence Vincent Powderly Collection.

Powderly’s massive popularity in the late nineteenth century was not necessarily foretold by his humble beginnings, though his personal story lent to his credibility among labor’s rank and file. He himself thought his story was worth telling enough to labor over it. Quoting Benvenuto Cellini that one who had “done anything of excellence” ought to “describe their life with their own hand,” (The Path I Trod, 3) Powderly set out to describe what he saw as the major events of his life: his youth in Pennsylvania’s coal country, early interest in labor unionization, years as the Mayor of Scranton, Pennsylvania, involvement in American politics, and civil service as U.S. Commissioner General of Immigration.

Young Terence’s parents came to the United States from Ireland in 1827 for the same reason thousands of other Irish did: to seek the opportunity to work and raise a family outside of the oppressive conditions of British-ruled Ireland. Terence was born in what would become Carbondale, Pennsylvania, on January 22, 1849. Anthracite coal had just been found in the area, heralding the industrial growth of the Scranton region as a coal- and iron-mining center. The rail industry, a fascination for Powderly as well as a source of early employment, developed concomitantly in the area during his youth.

Powderly describes his childhood home as cold and drafty, with “no lathes, no plaster, and when the wind blew the house would rock as well as the cradle.”(8) The eleventh of twelve children, young Terence served as “the coal-breaker of the family at a time when coal was delivered “in lumps just as it came from the mine, few of them smaller than one’s head.” (14) He also helped his mother maintain the house, cleaning, cooking, and churning butter, according to his account, as a boy. At thirteen, Terence went to work as a switch operator for the railroad, eventually apprenticing as a machinist with James Dickson at age 17.

Terence Powderly’s nameplate, gavel and eyeglasses (with case).

Working conditions in the age of burgeoning industry caused many workers to join labor unions, and Powderly was one of them—he joined the local Scranton unit of the Machinists and Blacksmiths International Union in 1871, soon becoming its secretary, then president. Shortly after marrying Hannah Dever in 1872, he was fired from his job as a mechanic for his union work and “walked the [railroad] ties” into upstate New York and Canada looking for work. (26)

Rather than back away from his labor activism, however, Powderly leaned into it further. He gave speeches on the importance of unionization. He wrote articles for trade journals and newspapers. He also studied and practiced law, which certainly strengthened his mediation skills (and helped pay the bills). In 1874 he was elected a union delegate for several districts in Pennsylvania. Unknown to Powderly, the Noble Order of the Knights of Labor was founded by Uriah Stephens and a group of tailors in Philadelphia in 1869. “While the Knights of Labor were secretly working their way to light and a world’s recognition,” he notes, “I had never heard of that order.” (42) The order maintained secrecy to protect its members from employer retaliation.

Later that year, however, Powderly attended an anti-monopoly convention in Philadelphia and was invited to join the Knights, though he wasn’t initiated until September 1876. After that, “I knew no waking hour that I did not devote, in whole or part, to the upbuilding of the Order.”(45) Powderly’s work resulted in his being elevated to the organization’s General Master Workman (the union’s highest office) in 1879.

The Knights’ approach to generating change was both local and national. Between 1869 and 1896 the order found its way into every state, comprising 15,000 Local Assemblies with over 700,000 members by 1886. The Knights found community, solace, and valuable information in their local meetings throughout the country. Local Knights organized and sponsored lectures and study clubs that were aimed at educating workers in economic principles. Women and Black Americans also had their own units, though the order specifically discriminated against Chinese laborers.

The Knights, however, declined in power by the late 1880s. A strike they led in 1886, the Great Southwest railroad strike, was unsuccessful, causing a decline in membership. The Knights suffered another blow that same year when they were associated with the tragic Haymarket Affair, a bombing in Chicago that took place during a worker’s rally in the city’s Haymarket Square. Finally, the founding of the American Federation of Labor by Samuel Gompers in 1886, drew skilled workers into its ranks, and away from the Knights. By 1889 Knights of Labor membership had dwindled to 120,000. Powderly resigned as Master in 1893.

Powderly made enduring friendships with important leaders in the labor movement. He was especially close to Mary ‘Mother’ Harris Jones (ca. 1836-1930), pictured above, the Irish-born rabble rouser and ‘Miner’s Angel’ who was an active participant in the front lines of the American labor movement for nearly sixty years. Another labor comrade of Powderly’s was John B. White (1870-1934), right, an Illinois-born coal miner and progressive president of the United Mine Workers of America from 1911 to 1917.

Powderly was elected Mayor of Scranton, Pennsylvania on the Greenback-Labor Party ticket for three two-year terms from 1878-1884. That he was still under 30 years old when first elected is a testament to his political skill. Though known primarily as a labor leader, politics came with the territory, especially in the politically and economically tumultuous years of the second industrial revolution. After he left his leadership position with the Knights of Labor in 1893, he became more involved in local, and eventually, national politics. He first met William McKinley in 1881 during a coal miners’ dispute in Ohio. McKinley, a lawyer, took up the case for miners accused of unlawful assembly without payment, as the miners couldn’t pay for counsel. This earned McKinley Powderly’s lasting admiration, and the two became good friends. McKinley was a Congressman from Ohio at the time, but would serve as U.S. President from 1897 until his assassination in 1901. Powderly describes him as “a man who had a heart that felt for others’ woes; he was unpretentious, unassuming, and kind.” (296) The Powderly papers contain numerous tokens of Powderly’s support and affection for McKinley. McKinley, for his part, appointed Powderly Commissioner General of Immigration in 1897.

Powderly was a big fan of President William McKinley–this button is one of the many McKinley-related objects in the collection.

Ellis Island was the main port of entry during Powderly’s term as Commissioner. Arriving at the immigration station, however, he saw “that all was not well… ill treatment of arriving aliens, impositions practiced on steamship companies, and discourtesy to those who called their meet their friends on landing were frequent.” (299) Powderly created a commission to investigate conditions at Ellis Island that resulted in charges of corruption and nearly a dozen firings. Powderly himself lost his position when McKinley was assassinated in 1901, though he was appointed by President Theodore Roosevelt Special Immigration Inspector in 1906. This position entailed travel to Great Britain, Germany, the Netherlands, Belgium, France, Italy, and Austria-Hungary to study the causes of immigration. An avid amateur photographer, Powderly took copious photos as he traveled, some of which are digitized and can be viewed here.

Powderly’s final position, 1921-1924, was as Commissioner of Conciliation of the U.S. Labor Department under James J. Davis (1873-1947), who served as U.S. Secretary of Labor, 1921-1930, under Presidents Harding, Coolidge, and Hoover. Powderly died in Washington, D.C., on June 24, 1924.

The exhibit on Terence Powderly featuring the objects pictured here, along with many others from the collection can be viewed by the public in the Archives’ Reading Room in 101 Aquinas Hall.

 

References: Terence Powderly, The Path I Trod (New York: Columbia University Press, 1940)

 

 

 

The Archivist’s Nook: The Dress at the End of the Rainbow

If you were around during the Golden Age of Hollywood, you would have heard of Mercedes McCambridge. She had an Oscar winning role as Best Supporting Actress in the 1949 movie All the King’s Men. She was nominated for the same award in the 1956 film Giant. If you haven’t seen either of those classics or are more into horror, you might have heard her voice the demon Pazuzu in the 1973 film classic, The Exorcist. Indeed, she was renowned for her voice. Orson Welles, who, incidentally, addressed Catholic University’s first class of drama students in 1939, called her “the world’s greatest living radio actress.”

A Mercedes McCambridge publicity photo from the 1949 film All the King’s Men. (Photo: AP Wirephoto.)

 

 

 

 

 

 

 

 

 

McCambridge was also an artist-in-residence here at Catholic University from 1972-1973, lured, no doubt, by the University’s stellar drama program and its illustrious head, Father Gilbert Hartke (1907-1986). McCambridge once commented on Father Hartke’s sartorial tastes, which extended well beyond the Dominican robes of his order to include a silk Nehru jacket, a six foot long aviator scarf, a Russian fur hat and light blue canvas sneakers, among many other articles of clothing.

Most of these articles were gifts given to him by those who knew he loved clothing and costumes. And were it not for his extravagant tastes, we perhaps might not today have an absolutely precious piece of cinematic history: one of the dresses Judy Garland wore on the set of The Wizard of Oz. Articles in The Tower and The Washington Post allude to it, and rumors have swirled for years that Hartke had the dress, but it wasn’t until recently that Matt Ripa, Lecturer and Operations Coordinator at the Drama Department rediscovered it. I asked Mr. Ripa how he found the dress, and he responded that he too, “had heard rumors that Father Hartke was gifted Dorothy’s dress and that it was located somewhere in the building.” But “I could never get confirmation on exactly where it was located.” He explains:

I had looked in our archives, storage closets, etc. to no avail. I assumed it was a tall tale (of which many exist for Father Hartke). Our building is in the process of renovations and upgrades, so I was cleaning out my office to prepare. I noticed on top of the faculty mailboxes a trashbag and asked my co-worker to hand it to me. On the trashbag was a note for our former chair stating that he had found ‘this’ in his office and that he must have moved it when he moved out of the chair’s office… I was curious what was inside and opened the trashbag and inside was a shoebox and inside the shoe box was the dress!! I couldn’t believe it. My co-worker and I quickly grabbed some gloves and looked at the dress and took some pictures before putting it back in the box and heading over to the archives. I called one of our faculty members and former chair, who always told me the dress existed and that it was in the building to let her know that I had found it. Needless to say, I have found many interesting things in the Hartke during my time at CUA, but I think this one takes the cake.

McCambridge gave Father Gilbert Hartke one of the dresses Judy Garland wore as Dorothy in The Wizard of Oz (1939) when she was an artist in residence in the early 1970s. Though rumors of the dress have swirled for decades, the dress was only recently located by Matthew Ripa in the Drama Department. Father Hartke is pictured here with student Carol Pearson holding the dress, ca. 1975-76. There are several photos of Hartke holding the dress in the University’s Special Collections. (Photo: Special Collections, The Catholic University of America)

As archivists, we were obliged to work on gaining additional documentation for this popular culture national treasure. Objects such as this one might be forged and passed off as authentic because of their cultural and monetary value. So how do we know the dress is the real thing? We do not yet know how Mercedes McCambridge got the dress, though we do know she was a Hollywood contemporary of Judy Garland’s and that they were supposedly friends. McCambridge was friends with many luminaries in the film and radio industry. Garland had died by the time the dress went from McCambridge to Father Hartke. Moreover, we have several photos of Father Hartke holding the dress, and the abovementioned articles from The Tower and The Washington Post referencing it. So the circumstantial evidence is strong.

Dorothy’s Wizard of Oz dress in June, 2021. Judy’s name is written by hand on the inside of the dress, as the second image shows. (Photos by Shane MacDonald and Maria Mazzenga)

 

Nonetheless, we reached out to experts in cultural memorabilia at the Smithsonian’s National Museum of American History. The Museum has several artifacts from the Wizard of Oz set, including a famous pair of Dorothy’s Ruby Slippers. Curator with the Division of Cultural and Community Life, Ryan Lintelman, an expert in the Museum’s Oz memorabilia, offered a wealth of information he’s gathered on the history of the film’s Dorothy dresses. There were several of them, though it appears that five, excluding the University’s dress, have been verified as probably authentic. All of the dresses have certain verifiable characteristics: a “secret pocket” on the right side of the pinafore skirt for Dorothy’s handkerchief, “Judy Garland” written by hand in a script specific to a single person who labeled all of the extant dresses in the same hand, for example. Apparently, the thin material of the blouse was prone to tearing when Garland took it off after filming, and a seamstress often repaired it before she donned it for the next shoot. The Hartke dress has all of these characteristics, including blouse tears where the pinafore straps sat on the shoulders.

Smithsonian staff members, from left, Dawn Wallace, Sunae Park Evans, and Ryan Lintelman examine the dress, June 2021. (Photo by Maria Mazzenga)

 

 

Lintelman, along with his colleagues at the Museum, Dawn Wallace, Objects Conservator, and Sunae Park Evans, Senior Costume Conservator, paid us a visit to view the dress. Employees at the Museum are not authorized to authenticate objects like this one, but they suggested that the dress was consistent with the other objects from the film, and that the evidence around the dress was strong.

Dorothy’s Wizard of Oz dress, once the province of myth, is now a real object in the University’s Special Collections. We can now preserve it in proper storage in a temperature- and humidity-controlled environment. By the way, if any of you readers have your own story connected to this dress, drop us a line!

A scene that needs no explaining… (Photo: Silver Screen/Getty)

 

 

 

 

 

Sources:

Mary Jo Santo Pietro, Father Hartke: His Life and Legacy (Washington, D.C. The Catholic University of America Press, 2002), 201.

“Father Hartke: Kudos from the President, A Look At the Past,” The Washington Post, May 17, 1975, B1. The article alludes to “the original gingham dress that Judy Garland wore in The Wizard of Oz,” hanging in his closet.

McCambridge talks about her relationships with various Hollywood figures throughout her autobiography, and specifically mentions her residency at Catholic University in the early 1970s in her autobiography, The Quality of Mercy (New York: Times Books, 1981), see pages 107, 189 for mention of her year as artist-in-residence. See also, Richard Coe,  “Backstage And Back In Town,” The Washington Post, September 9, 1972, C9.

 

The Archivist’s Nook: Special Collections – Your Virtual Classroom

Digital copies of textbooks from our Commission on American Citizenship can be found via our digital collections page. The Commission created civics textbooks used in most parochial schools in the United States, 1943-1970s.

Special Collections has thousands of free online digital objects for use in your virtual classrooms.

Our digital materials are organized by type:

  1. Digital Collections. A digital collection is a set of digital objects with minimal supporting information. These are either entire collections, or parts of collections that have been digitized and posted on our site with basic descriptive information such as collection description, title, date, and subject of object. We have 39 collections online, with materials ranging from Catholic University’s yearbook, The Cardinal, to The Treasure Chest of Fun and Fact Catholic comic book.

    John F. Kennedy tours the North American College in Rome with Archbishop Martin J. O’Connor, Summer 1963. Kennedy met the newly elected Pope Paul VI during the same trip. From the Remembering President John F. Kennedy digital exhibit.
  2. Digital Exhibits. Digital Exhibits are selections of digitized materials curated by Archives staff. Our trained staff, in addition to guests from various University departments, have curated several online digital exhibits for public use. These range from historical tours of the University campus to selections from our collections related to Irish nationalism in the nineteenth and early twentieth centuries.
  1. Digital Classroom. The American Catholic History Classroom is a continuously-updated primary document site featuring a range of materials related to the American Catholic experience. The sites also feature contextualizing materials and educational resources created by historians. Topics range from the immigration and the Catholic Church to Catholics and Politics in the 1930s.

    Image from a Book of Hours from the Rare Books Collection. This Book of Hours dates from the fourteenth century, likely France. It was gifted by Msgr. Arthur Connolly in 1919. Interestingly enough, the front and rear pastedowns are fragments of a ninth- or tenth-century manuscript.
In 1964 the Treasure Chest of Fun and Fact ran a series of panels on an African American candidate for president achieving the nomination by a major U.S. Party, as the final panel pictured here shows. You can read more about it in the Pettigrew for President classroom site.
  1. Rare Books. The holdings of the Rare Books Collection, some 70,000 volumes, range from medieval documents to first editions of twentieth-century books. We certainly don’t have all of these materials digitized, but you can find some of the rare books collection online.

 

  1. The Archivist’s Nook. Finally, Archives staff and guests publish timely and interesting blogposts related to Special Collections materials. Topics covered include everything from weird University happenings to short overviews of some of the interesting characters populating our collections.
History graduate student Mikkaela Bailey guest blogged on her experiences curating catechisms from our Rare Books Collection with her public history class last semester in this edition of “The Archivist’s Nook.”

Special Collections also has a limited capacity to digitize on demand, and we may have digitized materials available, though not yet online. Please contact Maria Mazzenga, mazzenga@cua.edu, if you have a request for a specific set of digital materials for use in your classes. Special collections staff are available for virtual assistance, just email us at lib-rarebooks@cua.edu with your requests.

 

 

 

 

 

 

 

The Archivist’s Nook: A Paradox of Uniformity – Catechisms in Rare Books and Special Collections

The Rare Books Collection at The Catholic University of America contains many treasures among its 70,000 volumes, ranging from medieval documents to first editions of twentieth century authors. Among these are nearly 300 Catholic catechetical texts: written works containing summaries of the beliefs of the Catholic faith compiled as teaching tools.

“A Catechism for Pastors by Decree of the Council of Trent in 1566,” also known as “The Catechism of the Council of Trent,” or the “Tridentine Catechism,” was first published in 1566. This is Rare Books and Special Collections’ oldest catechism.

In one sense, these texts, which span from 1566 to the 1980s, are remarkably similar. The Catholic catechism has contained the same several parts for nearly 500 years: The Apostles Creed, The Lord’s Prayer, discussion of the seven sacraments (Baptism, Reconciliation, the Eucharist, Confirmation, Marriage, Holy Orders, Extreme Unction), and the Lord’s Prayer. But there were slight tweaks to the catechism over time. For example, as Berard Marthaler points outs, a “medieval fascination with numbers” caused theologian Hugh St. Victor to organize doctrine into units of seven as a mnemonic device. Hence, catechetical teaching of the time featured doctrine organized into units of seven: the seven capital sins, seven petitions to in the Lord’s Prayer, seven gifts of the Holy Spirit, seven Beatitudes, and seven virtues.[1]

“Catholic Anecdotes; or, the Catechism in Examples” (New York: 1873) by Mrs. J. Sadlier, also known as Mary Anne Sadlier. Two of the Sadlier family, Denis and James, migrated to the U.S. from Ireland in the 1830s and began publishing Catholic inspirational works. Mary Anne, (also an Irish Immigrant) and James married, and Mary Anne went on to publish more than 60 works related to Catholic devotional life. This volume is comprised of various stories underscoring devotion to Catholicism, but it also contains catechetical material, and is an example of how the basic teachings were sometimes merged with supporting texts.

By the Tridentine Era, so called for the Council of Trent that took place 1545-1563, a basic formula for the catechism was issued by the Council. This was partly due to the rise of Protestantism in Europe in the sixteenth century, but also due to a desire to teach the fundamentals of the faith on a regular basis using a uniform text. The Tridentine Catechism issued by the Council of Trent in 1566 contained the basics of the modern catechism: Apostles Creed, seven sacraments, Ten Commandments, and the Lord’s Prayer.

 

 

 

 

 

This “Illustrated Catechism” published by the Confraternity of the Christian Doctrine in 1944 aimed at educating younger children in Catholic teaching.

The uniform content of most of the catechisms produced after 1566, however, did not mean they would all look exactly the same. Coinciding with the rise of the printing press in Europe, the catechism could be reproduced in multiple languages, and with a variety of designs.

By the twentieth century, Pius X (Pope from 1903-1914) turned his attention to improving catechetical instruction once again, and emphasized greater uniformity in such instruction, and instruction in the sacraments at younger ages. Certainly, this would be more feasible as literacy spread throughout the Christian world, and as small, portable catechisms became easier to produce. The catechisms, uniform as they are in general content, reflect the cultures and trends from which they emerged.

This image from The Visualized Catechism published by the Trinity Guild in 1947 uses a more unusual style of graphic illustration—stick people—but again, it covers the same basic material.

 

 

 

 

 

 

 

 

The catechisms can be viewed by appointment; email: lib-rarebooks@cua.edu or call 202-319-5065.

 

 

 

[1] Berard Marthaler, Catechesis: “A Semantic Evolution”? Liturgical Ministry 18 (Winter 2009), 1-10, 4.

The Archivist’s Nook: Catholic Archives in the Digital Age – Religious Order Archives Edition

Panelists discuss the importance of religious order archives to Catholic scholarship

March 29, 2017 saw a gathering of more than 80 archivists, librarians, and information specialists working with religious order archives at The Catholic University of America to discuss the status and future of Catholic religious order archives. The conference marked the third in a series on “Catholic Archives in the Digital Age.”

The gathering began with presentations by four well-known scholars in the field of American Catholic studies discussing the significance of religious order archives in researching and writing Catholic, American, and global history. Leslie Tentler, Emerita Professor at The Catholic University of America, kicked off the day’s first panel, “For Posterity: Religious Order Archives and the Writing of American Catholic History,” with observations on the worth of religious order archives to the scholar seeking to understand basic structures of American Catholic institutions. Diocesan records cannot be used solely to tell the full story of Catholic education in the U.S., for example. Why? Many schools were run by religious orders, and where diocesan records often have little in the way of religious order records related to discipline, pedagogical ideals, student socialization and the emotional climate of schools run by religious orders—these archival materials have historically been kept by the teaching religious themselves.

Participants listen to panelists discuss Catholic Archives in the Digital Age

Carol Coburn, Professor of Religious Studies at Avila University, followed this thread in her talk—religious order records help tell a story that can’t be told otherwise. As Director of the Martha Smith, CSJ, Ph.D., Archives and Research Center at Avila University in Kansas City, Missouri, Coburn works with Archviist Adonna Thompson to preserve records of the Sisters of Saint Joseph of Carondelet. Coburn maintains that “to fully know the story of American Catholicism, you have to know what religious orders are doing at any given historical time period.” As Mary Beth Fraser Connolly, lecturer at Purdue University, pointed out in her discussion of the journal of Sister Justina Segale of the Sisters of Charity in Cincinnati, resources such as these offer insight into the everyday lives of religious. Sister’s journal entry for April 4, 1968 reads: “While eating dinner, a flash came over the TV that Dr. Martin Luther King, Jr. was shot. Only minutes later a special news report confirmed: Martin Luther King Jr., has been assassinated!” Far from being removed from the concerns and interests of everyday Americans, the journal shows, here and elsewhere, that women religious were of course tied into the daily lives of ordinary Americans. And yes, they watched TV. Malachy McCarthy, Archivist for the Claretian Missionary Archives in Chicago, Illinois, took a different approach in his talk. Using the example of a scholarly monograph on Mexican Americans, he illustrated the pitfalls of not consulting religious order records, in this case the male Claretian missionaries, who were heavily involved in ministry to Mexican Americans. In his otherwise solid Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900-1945 (1993), historian George Sanchez was unable to access records related to the Claretians’ work with a key Los Angeles population in which the La Placita parish is situated. Instead he examined secondary works and diocesan records related to the population with the result that his chapter on religion could not include valuable information from the Claretian archives (not open to the public at the time) in his work.

Participants listen to panelists discuss Catholic Archives in the Digital Age

Our second session featured a panel of some of the most well-respected archivists of materials related to the Catholic experience in the U.S. The Associated Archives at St. Mary’s Seminary and University in Baltimore, Maryland is the home of a collaborative effort of the Archdiocese of Baltimore, St. Mary’s Seminary and University, and the U.S. Province of the Society of St. Sulpice, or the Sulpicians, and serves as the repository of these three organizations’ archives. Its archivist, Tricia Pyne, offered the group a genealogy of how several Catholic institutions worked to make that collaboration happen. Ellen Pierce, Consulting Archivist with the Maryknoll Archives offered an overview of holdings there, with an emphasis on the importance of producing value in maintaining archives for institutional stakeholders. Denise Gallo, Provincial Archivist for the Daughters of Charity Archives in Emmitsburg, Maryland, focused her talk on how the Daughters of Charity Provincial Archives merged records of that order from multiple locations, emphasizing the role in communications among various stakeholders in achieving optimal archival goals and visibility. Emilie Gagnet Leumas, Director of Archives and Records for the Archdiocese of New Orleans, focused on her Archive’s effort to work out temporary agreements with those institutions or individuals who may want to make short-term agreements with the Archdiocese. Finally, Patricia Lawton of the Catholic Research Resources Alliance (CRRA) at Notre Dame University gave a fine overview of the many unique services offered to the Catholic archival community by the CRRA.

The afternoon session wrapped things up with an overview of a survey of Catholic archives done by Young Choi, Professor of Library and Information Science (LIS) at the Catholic University and LIS Graduate Student Emily Nilson. Many of the issues that have plagued Catholic archives for decades continue to pose as challenges. Most collections, for example, remain hidden and inaccessible to potential users, in part because there is no information on such collections on the internet. Still, almost all Catholic archives have some web presence and staff are eager to gain training in born-records collection, digitization of materials, and to continue processing. The reportage of the results led to a lively discussion among audience members, who eagerly shared and sought out information.

The Archives will be posting a website with resources and the presentations of scholars and archivists this summer—stay tuned!

Also see:

Catholic News Service: http://www.catholicnews.com/services/englishnews/2017/panel-archives-of-religious-orders-tell-history-of-us-church.cfm

The Fate of Religious Order Archives: https://www.lib.cua.edu/wordpress/newsevents/8901/

The Archivist’s Nook: Catholic Archives in the Digital Age – The Fate of Religious Order Archives

Franciscan Sister Mary Aquinas Kinskey, pictured teaching at CUA in the 1940s, received a special citation of honor from the U.S. Air Force Association in 1957 for her contributions to the advancement of air power in the interest of national security. She taught aerodynamics here at Catholic University during the Second World War.

Catholic religious orders hold a unique place in the European settlement of what is now the United States, indeed some of the earliest Catholic colonial settlers came as members of religious orders. The Jesuits, for example, founded in 1534 by the Spanish Ignatius of Loyola, was the first order to send missionaries to propagate the faith among Native Americans. Franciscans followed soon after. The record of the interactions between these two orders and the Native American populations forms an important record of the early encounter between the two groups.

Women religious, for their part, also settled in the territory that became the United States, with French Ursulines arriving in modern-day Louisiana in 1727 and Elizabeth Seton founding the Sisters of Charity (later the Daughters of Charity) in Maryland in 1809. These two orders played a unique role in the establishment of Catholic women’s presence in the U.S., and helped lay the foundations of the American Catholic education system.

Fortunately, we have well-cared for records and wonderful histories of much of the Jesuit, Franciscan, Ursuline, and Sisters/Daughters of Charity experience. But this is not the case for all religious orders and their records. Religious orders in the U.S. held different missions, locations, and administrators. Many held houses in multiple provinces and countries. As they have expanded and contracted over time, their archival records have experienced a range of fates.

Father Gilbert Hartke with a CUA student in an undated photo. Father Hartke was a member of the Dominican Order. He founded and headed the CUA Drama Department from 1937 – 1974, training and meeting many theater luminaries on the way. His papers are housed in the CUA Archives.

The Catholic Archives in the Digital Age: The Fate of Religious Order Archives Conference is the third in a series of conferences under the theme of how Catholic archives are evolving in the digital age. The specific focus arose as after the American Catholic History Research Center and University Archives worked with the Mission Helpers of the Sacred Heart in Baltimore to preserve their valuable archives as they moved from one location to another, will address aspects of the question of religious order archives in the United States. We figure Catholic University is a great place for such a conference–surrounded by religious houses from its origins, the University has historically served as a center of education for members of religious orders from around the country.

The free conference will be held on the CUA campus in the Pryzbyla Center on March 29th, 2017 and will feature a range of scholars and archivists of the American Catholic experience and archival stewards of religious order records. For the full schedule and to register, visit the website: http://iprcua.com/2017/03/29/the-fate-of-religious-order-archives/.   The conference is generously funded by the Our Sunday Visitor Institute, and sponsored by the American Catholic History Research Center/University Libraries, the Institute for Policy Research and Catholic Studies, and the Department of Library and Information Science.