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While walking across campus, have you ever looked up? The first residents of campus are still present, peering down…
Since the very opening of the University, every generation of Cardinals has studied and graduated under the watchful eyes of Caldwell Hall. And we do mean eyes, as the exterior of the building has been home to dozens of stone faces since the opening of the building in 1889. Walking along the west side of the façade, you can find numerous “grotesques” peering out. Grotesques, similar to gargoyles, are stone faces adorning a structure. While gargoyles are specifically designed to serve as water spouts, grotesques primarily decorative.
While we have little information on why the designs on Caldwell were selected, we do know that on March 9, 1888, the Baltimore-based architectural firm of Baldwin and Pennington contracted the stonework of the building to Bryan Hanrahan. Presumably Hanrahan made the decisions on the designs himself, likely with consultation with University officials. But as is often the case with gargoyle or grotesque designs, the artist may have drawn inspiration from the faces, stories, and peoples that surrounded them.
While we can’t say for sure what inspirations there may have been for any of the visages, this author has a sneaking suspicion that one of the faces was inspired by then-President Grover Cleveland. After all, Cleveland did attend the cornerstone-laying of Caldwell Hall in 1888, giving ample opportunity for the artist to see him up close (and providing a connection to the building).
There are perhaps too many faces – both inside and outside – of Caldwell to catalog in one blog post! But some of the highlights include an figure sticking out their tongue and a person hiding behind a book (see the image at top). While the interior of Caldwell may appear more dignified, with only a few stern faces holding up the columns in the main stairwell, the exterior is a “grotesque” landscape!
But Caldwell is not the only ornamented structure on campus – several other buildings have design features that may be missed at first glance. Look closely at McMahon Hall for the ornate stone vine work that traces the building. Or the next time you pass by the doorway into Mullen Library, look for the Zodiac symbols that grace its entrance (just one of many engravings on the library’s exterior). You will even find figures looking out across campus in and on numerous other buildings on campus – some of which this author may not even be aware of! There is hardly enough room in this post to detail them all, but perhaps you can explore a sample of them yourself via a scavenger hunt by following this link.
And do share any faces you find hidden among the stones! Learn more about one alumnus, Jay Hall Carpenter, and his own work with sculpture and grotesques at the National Cathedral in this Mullen Library exhibit!
During spring break week in mid March, as many of the Catholic University community were away from campus, the Archives staff met to discuss our contingency plans for the spreading pandemic. Our researchers from across the United States and the world were beginning to cancel or delay scheduled appointments, and we began to determine how best to shift our services and resources online. With little time to prepare, we readied the stacks for a possible long-term closure.
Friday, March 13, 2020 would end up being the last normal day of work at the Archives. (Yes, Friday the 13th was when our “luck” ran out.)
When we think of essential workers during the current crisis, we rightly think of medical professionals, delivery drivers, grocery and pharmacy employees, custodians, etc. But even among those professions mostly teleworking, there are those who exercise an essential function. In addition to the facilities staff (a huge shout out to them!), many administrators and librarians at Catholic University have continued coming to campus to assist in the transition to online instruction, to guarantee that students and faculty (as well as most staff) could remain safely at home.
As for the Archives staff, we need to monitor our collections to guarantee that the humidity and temperature levels are maintained at proper levels, that leaks are not occurring, or that bugs are not infesting the stacks! Plus, as many online collections as we have, most of our materials are still only available onsite. Each of our staff received a letter marking us as essential employees, able to come in to protect the collections during the strictest period of the DC shutdown.
Does that mean we took unnecessary risks to visit the stacks? No. Most of us continued to telework, with two of our staff (who live close by or can drive in) stopping in one to two days a week to check the collections. (A special thank you to Archivist, John Shepherd, and Special Collections Technician, Brandi Marulli, for keeping the onsite stacks maintained during the first few months of the pandemic. Not to mention Curator, Maria Mazzenga, and Graduate Library Pre-professional, Amanda Bernard, for expanding our digital presence during the shutdown.) As for me? I began to return to the onsite collections in June.
Overall, I have been fortunate thus far. I’ve been able to mostly telework, have kept my livelihood, and been healthy. As a current graduate student, despite my displeasure at endless Zoom sessions, my remote classes have kept me busy. (Knitting during Zoom classes tends to help me stay focused on the lecture/discussion!)
With that said, I do live alone. Many days are long, with my small basement apartment becoming the center for my entire life. For over four months, often the only outdoor activity I may get is an occasional walk or an early morning trip to the grocery store.
My family is back in central Nebraska, and they reside mere blocks from a meatpacking plant forced to remain open, despite becoming a hot spot for the virus. My family had no options for teleworking and the local authorities seemed unwilling to take the pandemic seriously. For months, almost every morning, before logging into my laptop to work remotely, I would talk to my relatives on the phone to see how everyone was doing and check in myself. (So far, so good!)
All this has made me reflect on my short- and long-term plans. Every year, I visit my family several times. But not in 2020. Maybe not in 2021. Wherever I have been in life, I have always found my way back to Nebraska every Christmas and New Years, to see my family and childhood friends. This may be the first time in my life I must skip that journey, for fear of risking my family’s safety by traveling.
I worry about finances, as so many schools and businesses face tough economic choices. I consider my meager savings now as not only a cushion for myself but possibly for my distant family and friends.
While taking graduate coursework during a pandemic is a challenge unto itself, I am relieved to have the distraction. But also taking these courses has helped provide a sense that my life is not stagnating in quarantine, that I am advancing in some capacity while sitting at home most of the week.
I have friends and family who are public school teachers, rewriting their wills as they are potentially put back into classrooms too early, grocery store workers and truck drivers on the “front lines” for months on end with no breaks, and childcare workers furloughed. I know people who (incorrectly) claim the virus is a hoax, and others who will never leave their homes out of fear of getting sick. I know people afraid, people struggling, and people offering hope.
I live mere blocks from a food pantry. One to two days a week since late March, a long line has stretched down the street from it. It is heart-breaking to see, but it is also encouraging that the pantry keeps helping. Volunteers still go in, despite any personal risks to health. Food is still being handed out to each person in that line. Donations keep coming in.
Collecting stories can be exhausting – reliving my own experiences of the pandemic or empathizing with those submitting their own accounts – but it is crucial work to preserve our tales for the future, to vocalize our experiences, and to help us understand that we are part of a broader web of human experiences during challenging times.
There are millions of stories during this pandemic. Many negative, some positive, and most still being written.
Keeping a journal myself, I want to end with one short reflection I wrote a few weeks ago, after I came to campus and had entered the still-closed library:
As I entered Mullen Library at 6:30 in the morning to check on the collections, I found myself alone in the building. Staring over my face covering and fogged-up glasses, I found a sight I usually love – a quiet, uncrowded library.
But not like this.
Not for these reasons.
Not due to a pandemic keeping patrons away and staff at home. Not from an economic crisis forcing us to make hard choices about what services we can provide. Not due to BIPOC students feeling targeted on campus, thus feeling unwelcome in their own library.
So many of us as individuals, groups, and localities have sacrificed to slow this pandemic, have helped those hurting economically, and have protested and started the long-term processes of confronting our own internalized and institutionalized racism.
Staring around me at dawn, this quiet library served as a reminder of both these challenges facing us and the collective actions we are taking to address them.
It is shuttered to help us control the spread of a virus. It is quiet due to staff mostly teleworking, with the Library working to maintain their employment and health in uncertain times. It is a time in which libraries are further reflecting on and working to address institutionalized racism in the profession, while providing (usually digital) sources to help others learn about these issues.
What will define this empty library – the challenges of the present moment or the work that hopefully helps and changes our culture? I’m a historian, not a seer, but I’ll do my best with my small platform in this currently quiet library to help.
In a few short weeks, there may be more people going up and down these stairs. While I’d like to see that, I do have concerns. So I’ll keep my mask and hope handy.
Just one account among many during these times of pandemic, social change, and economic upheaval.
To learn more about submitting your own story, please see this form. Questions or concerns can be addressed to: email@example.com
If you’ve been in the campus library this semester, you may have noticed that many of the museum pieces on display were quietly christened in recent weeks.
But since a four-by-six inch exhibit label can only accommodate so much information, the following is meant to give you a glimpse of the proverbial iceberg—of which each little white rectangle is only the tip.
ONE: JOHN LANCASTER SPALDING
John Lancaster Spalding (1840-1916) was one of the masterminds behind The Catholic University of America. A strong advocate of parochial schools, he played a decisive role in securing funds for the establishment of a national Catholic university in the United States—persuading the twenty-one-year-old heiress Mary Gwendolen Caldwell (1863-1909) to pledge $300,000 to the cause.
The bust of Spalding once gleamed in the niche where the smaller, darker bust of John K. Mullen has since been installed (apparently against the wishes of Spalding’s donor). Describing his intentions for the donation, Spalding’s nephew specifically requested on July 4th, 1935 that the University “place the bust in the niche in the library, there to remain.”
The prominent placement of the bust was important to the proud people of Peoria, where Spalding was appointed first bishop in 1876. Concerned that “[m]any priests have at different times and places commented on the fact that there is no memorial to him [Spalding] to be found in any of the main buildings of the University,” Spalding’s nephew—the Rev. Martin J. Spalding (1891-1960) of Chillicothe, Illinois—pulled some strings. Waiting around for the fireworks to start, he hatched the following plan in the same July 4th letter:
I have a brother, Mr. John L. Spalding, of Chicago, who for over thirty years has been connected with the Daprato Statuary Co. of Chicago, New York, Montreal, and Pietrasanta, Italy. With him I took up the matter of the cost of a life-size bust. […] Upon his death, my Most Reverend Uncle willed to Spalding Council, Knights of Columbus, in Peoria, the bust of himself and of which I know that he approved. The bust […] would be an exact copy of the one in the Knights of Columbus Hall in Peoria and made of Bianco P. Carrara marble. […] [It] would be made in Italy from a cast taken in Peoria.
Thanks to Sister Lea Stefancova (at the Archives and Museums of the Diocese of Peoria), we’ve established that the Spalding Council bust (from which CUA’s bust was copied) was executed by the Italian-born sculptor Leopold Bracony in 1900.
P.S. The Spaldings were fond of family names. The donor’s brother (with the Daprato Statuary connection) seems to have been named after John Lancaster Spalding. Meanwhile, the donor, Martin J. Spalding, was presumably named after his uncle’s uncle: Archbishop of Baltimore Martin J. Spalding (1810-1872), who in 1834 became the first American to earn a doctorate in theology.
TWO: JOHN K. MULLEN OF DENVER
The white whale of my exhibit label project, the bronze likeness of the library’s namesake—John K. Mullen of Denver (1847-1929)—has proven to be a paradoxical alloy of the obvious and the obscure.
First, a little insight into my process. As I set about drafting each exhibit label, my first stop was always our internal museum collection database. In the case of the Mullen bust, though, the data fields for the donor, maker, date of gift, and date of execution had all been left blank. My next stop was the hard file—the physical folder with paper records, shelved in the climate-controlled closed stacks of Aquinas Hall. Oftentimes, the hard file will yield details (usually in the form of newspaper clippings or correspondence) which may not have been germane to the catalog record, but which nevertheless lend perspective. Not so with Mullen. Ironically, the hard file contained only the print-out of the electronic database record (with the same four blank fields) and some photographs of the bust in its current location.
So I went back to the source. Upon closer inspection of the bust—with flashlights—my colleague and I found that the underside of Mullen’s right shoulder bears the following inscription:
Fisher Leys 8/29/27
What seemed like a breakthrough, however, petered into a dead end—or a mostly dead end. Thanks to local historian Robert Malesky, we have a new lead on the sculptor; we have reason to believe she was a woman by the name of Eleanora Fisher Leys. According to Malesky, Leys also sculpted a bronze bust of Herbert Hoover around 1928. Census records—listing her occupation as “sculptress”—indicate that Mrs. Eleanora Leys (née Fisher) was born around 1905, which means she would have only been about 22 years old when she was working on the busts of Mullen and Hoover. She died in 1995, according to the Social Security Death Index.
Although we might assume the acquisition of the bust coincided with the construction of the new library (between 1925 and 1928)—especially since the date inscribed on the bust falls within that time frame—I haven’t found any records to support that assumption. Yet.
With the Dante bust, we have the exact inverse of the predicament with the John K. Mullen bust; in this case, the donor and the date of the gift are well-documented, but clues as to the maker and the date of execution are mired in a series of coincidences.
According to the April 2, 1930 issue of CUA’s student newspaper, The Tower, the same Italian club gave away a bust of Dante the year before; that bust was presented to Director of the New York Philharmonic Orchestra Maestro Arturo Toscanini (1867-1957) on March 25, 1930, during Georgetown University’s Founders Day celebration. The Tower article continues:
Following the reception, the members of the Il Circolo, through their Secretary, Mr. John Del Vecchio, presented to Signor Toscanini a beautiful Italian marble bust of Dante, executed by the prominent Florentine sculptor, Carlo Romanelli.
This coincidence has led some at CUA to speculate that our bust of Dante was also sculpted by Carlo Romanelli. Some online sources indicate that Carlo Alfred Romanelli (1872-1947) was the son of Italian sculptor Raffaello Romanelli (1856-1928); he studied with his father and with Augusto Rivalta at the Royal Academy of Art. According to the Smithsonian Institution Research Information System (SIRIS), Raffaello Romanelli sculpted the bust of Dante on Belle Isle in Detroit, Michigan.
Today, Il Circolo Italiano survives through its “daughter organization,” The Italian Cultural Society of Washington, D.C. (ICS). In an April 2007 issue of the ICS’s paper, Poche Parole, then-president Mr. Luigi De Luca mentions the “gift of a beautiful bust of Dante Alighieri.” He says, “Thanks to that gift, Dante keeps me company during my studies of Ancient Greek on the third floor of the John Mullen of Denver Library.”
This week’s post is guest-authored by Mikkaela Bailey is a PhD student at CUA studying medieval history with special interests in women’s history, public history, and digital humanities. You can find her on Twitter: @mikkaela_bailey
Curation is a long, detailed conversation between individuals, offices, texts, and objects, as students from Catholic University’s History and Public Life class learned this semester.
It’s easy to evaluate an exhibit and poke holes in the choices made by its organizers. It’s far more difficult than I imagined to craft an exhibit.
With most of the logistics arranged long in advance by our professor for the class History and Public Life, Dr. Maria Mazzenga, our job as a class was focused on assembling and advertising the physical exhibit itself.
The first thing we had to do was break up the objects into thematic categories so we could decide what should be included in our display. Then, we had to plan how to best demonstrate the common themes between them and also establish continuity in the display. After that, we had to craft captions and marketing materials that communicated why our visitors should care about our work and choose to come see it.
One of the ideas about organizing the books rested on the idea that the Eucharist is a central and essential element of the catechism and one’s first Communion is an important life event. Since our audience is likely to be heavily Catholic, there is resonance with their own experiences in the exhibit here. This thematic approach connected well with the objects in the exhibit, and inspiration flowed from that idea as we assembled catechisms aimed at children and teens in the same display case. One thematic element of change over time was the implementation of more children’s catechetical education as the age for first Communion shifted from around 13 to around 7 years of age.
But, there were still two more cases to fill and many more objects to consider. In the first case, which we actually finished last, we installed the oldest books, including a Latin catechism from 1566. These 16th and 18th century books were connected by the vernacular languages in which they were printed. Printing educational materials in the vernacular was a very important emphasis of the Tridentine Catechisms, so grouping these non-English catechisms gave emphasis to the importance of the catechism worldwide, outside our own framework, and outside the Latin-based world of the church.
The central case features several interesting pieces, but it also provides context for the cases flanking it. This is where we chose to place the bulk of our textual engagement through questions we are asking the audience and a QR code linked to the digital exhibit.
At the end of this process, I am so thankful for teammates who were engaged from the beginning and expressed great passion for this project. I shudder to think of undertaking something like this alone! In fact, looking at the finished product, I feel as though no idea I had for the display was totally my own and I think almost every decision made was by committee. From the marketing materials to the captions and display case arrangements, this exhibit was completely collaborative and has benefitted from open communication and easy acceptance of constructive criticism. In public history, I think all of these qualities are essential for a successful, cohesive exhibit. This experience has been the highlight of my first semester as a PhD student at CUA!
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.
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.
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.
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.
The Knights of Malta were among the earliest military or chivalric orders, founded as the Knights Hospitallers in Jerusalem in the 11th century to care for and protect pilgrims in the Christian Holy Land. After the fall of the Crusader States in 1291, the Knights were in Cyprus, then on the Isle of Rhodes, which they stubbornly defended until ejected by the Turks in 1522. Strategically located near Sicily, the island of Malta was given in 1530 to the Knights by Holy Roman EmperorCharles V. They were based there until driven out by Napoleon Bonaparte in 1798. The British expelled the French and ruled Malta until granting independence in 1964. The Knights were fragmented after the French expulsion with a complicated constitutional history. Centered in Rome in the twenty-first century they are widely recognized as a sovereign entity in international law, maintaining diplomatic relations with over 100 countries and with a permanent observer mission at the United Nations. The Order has over 13,000 members and employs over 40,000 medical personnel assisted by over 80,000 volunteers worldwide, regardless of distinction, to assist sick, homeless, and otherwise distressed persons.
Foster W. Stearns (1881-1956) was a native of Massachusetts and graduate of Amherst College, Harvard University, and Boston College. He was a librarian at the Museum of Fine Arts, Boston, and State Librarian for Massachusetts prior to military service in World War I. Thereafter, he worked for the U.S. State Department until 1924 when he returned to librarianship at Holy Cross College, Worcester, Massachusetts. He served as a Republican in the U.S. House of Representatives, 1939-1944, was also a Privy Chamberlain of Sword and Cape to Pope Pius XI, and a Knight of the Sovereign Military Order of Malta. His collection, donated to Catholic University in 1955, covers over 800 years of history from the founding of the Order in Jerusalem in the 12th century, containing two hundred eighty one items described in a 1955 catalog by Rev. Oliver Kapsner, O.S.B. Materials include Order statues and early papal privileges, member lists, chronologies, and histories of the Order as well as of Rhodes and Malta. As an addendum to the Stearns Collection, Catholic University added nearly one hundred additional items, such as maps and periodicals, via gift and purchase.
The Carol Saliba Family Collection was gifted to CUA in 1999 by Dr. N. Alex Saliba of Louisville, Kentucky, a retired physician born in Malta. He inherited this collection of letters and documents from his father, Carol, a longtime Commander of the St. John Ambulance Brigade of Malta (an English branch of the Order). The Saliba Collection consists of one hundred forty two manuscripts, including autograph letters and documents, both originals and copies, primarily from the sixteenth to nineteenth centuries. The material has a focus on the Order’s internal affairs as well as their involvement in European politics, especially the Napoleonic era when they lost Malta and were unable to elect a Grand Master. Included are Maltese stamps and coins, memorabilia of Carol’s service in the Ambulance Brigade, and a seventeenth century water color of the flag and coat of arms of the Order.
Most of the Foster Stearns collection is cataloged and both collections were the focus of the 2015-2016 collaborative digitization project with the Malta Study Center at the Hill Museum and Manuscript Library at St. John’s University in Collegeville, Minnesota. Access to original Malta and Order materials at The Catholic University of America is by appointment only, please contact firstname.lastname@example.org. For more on CUA Rare Books in general please see the earlier blog post by my colleague, Shane MacDonald.
 Officially the Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta (Latin: Supremus Militaris Ordo Hospitalarius Sancti Ioannis Hierosolymitani Rhodiensis et Melitensis), commonly known as the Order of Malta.
 Oliver L. Kapsner, O.S.B. A Catalog of the Foster Streans Collection on the Sovereign Military Order of St. John of Jerusalem, Called, of Malta. Washington, D.C.: Catholic University of America Library, 1955.
 In this case, meaning original, handwritten documents.
This semester, we said goodbye to Dr. Timothy Meagher, University Archivist and Curator of the American Catholic History Collection at The Catholic University of America. In addition to his service as University Archivist, Meagher was Associate Professor with the Catholic University History Department, where he regularly taught Irish-American and immigration history. Though we will miss him at the Archives, we know he will be happily plugging away at his magnum opus in his “retirement”: a comprehensive history of Irish America.
Provenance is a word archivists love. It refers to the origin of a collection of archival materials, yes, but embedded in those origins is identity. For this reason, archivists use provenance as an organizing principle for their records and collections. In other words, we try to maintain and organize materials as faithfully as we can to the intention of the original creator and/or organizer of the collection, in order to preserve the integrity and identity of the collection itself.
Meagher’s own origins are manifest in his career. Certainly, his own Irish and Catholic ancestry inspired his study of Irish America. But he also occupied a unique position as both an academic historian and a public one. While completing his Ph.D. in history at Brown University in the early 1980s, he taught history in his hometown of Worcester, Massachusetts. But after four years, that job ended and he found himself unemployed. “There were no historian jobs,” he says of the time. So he improvised. There was a position as Assistant Archivist at the Archdiocese of Boston Archives. “Jim O’Toole was there, a historian himself getting a Ph.D. from Boston College.” The two formed a lasting friendship, with O’Toole becoming a prominent scholar of both archival practice and American Catholicism and who in fact, has served on our archives’ advisory board since its inception in 2002. For Meagher’s part, he saw that there were potentially multiple uses for the skills of a historian.
In the late 1980s, Meagher made his way from Boston to Washington, D.C., where he had years earlier graduated with his Bachelor’s in History from Georgetown University. His interest in public history was now heightened by both his work in archives and a concurrent rejuvenation in the museum field, especially in the area of exhibition and public programming. He speaks fondly of his work with the National Endowment for the Humanities, where he served as Program Officer until accepting his post at Catholic University. The NEH required those who worked in public history institutions to work directly with relevant scholars in the academy, “we had historians and museum people coming in and evaluating the quality of the exhibits we funded—there were some great conversations.”
Having spent seven years making humanities scholarship accessible to broader audiences, Meagher decided it was time to move on. He was particularly interested in the museum collection at the University Archives when he began working here in 1997. From the start, his primary mission was using the archival materials in our collections to teach history to a variety of audiences. “There was a move within the Catholic Church at that point to save material culture.” At the time, few in the field of Catholic archives knew much about preserving sacred objects, so Meagher organized the Saving Sacred Things conference in 1999 to address the matter.
Drawing from his experiences working with professionals in a range of cultural institutions, Meagher expanded the Archives’ outreach and educational programming dramatically. “I was aware that there were other places doing public outreach in archives. I knew people at NARA [National Archives and Records Administration] and other places who put together educational packets using their archival materials.” So he worked with staff and teachers to put together packets related to a variety of aspects of Catholic history for Catholic high school students with materials from our archive. These formed the basis of the now fully digital American Catholic History Classroom an online education site featuring hundreds of digital documents, photos, and teaching resources. “We were trying to teach young people how historians solve historical problems. To look at source material and figure out what happened. We tried to do it with this material related specifically to Catholic life. No one else was doing it on a broad basis. A whole dimension of American life, we wanted to fill it with good history. Our collections lend themselves to understanding national Catholic history.”
Today, the Archives’ outreach and educational programming is thriving. Thank you, Professor Meagher!
“Library Too Heavy! Will Sink in 10,000 Years!” exclaimed a tongue-in-cheek Tower article from 1927, calling on all students to help relocate the library building to a more stable location. The Library the article was referring to was the John K. Mullen of Denver Memorial Library, then under construction. With its marble and limestone edifice and ability to hold one million volumes, the students were perhaps only half-joking when they stated that it may sink! For Catholic University students of the time were used to a far more humble library.
For nearly a century, Mullen Library has been a hub of campus life, so it may be hard to imagine a time when it was not a fixture on the campus. While the Library as an institution – and not just its current building – has existed since the day the University welcomed its first students, it has not always possessed such a beautiful home all to itself.
First located in the basement of Caldwell Hall (then called Divinity Hall), the Library started life humbly. But as the University expanded, so did the need of its students and faculty for books. It quickly outgrew its Caldwell offices and relocated to the ground floor of McMahon Hall in 1908. But even with this move, the Library was finding itself continuing to encounter issues with space. By the early 1920s, the University Librarian Joseph Schneider was storing excess books in the basement of the gym. Fortunately, a new chapter in the Library’s history was about to begin.
In 1921, the founder of the Colorado Milling and Elevator Company, John K. Mullen, provided a donation of $500,000 to construct a new home for the Library. A committee was organized in 1924 to select the designs for the building, with construction beginning in 1925. The building itself would open during the fall of 1928.
The construction of this new central library fit in with the fourth rector Thomas J. Shahan’s vision for Catholic University. Known as the “Builder Rector,” under Shahan’s tenure (1909-1928), the University experienced an explosion of construction, including Graduate Hall (now O’Connell), Maloney Hall, Salve Regina, the gymnasium (today’s Crough Hall), and the Basilica of the National Shrine of the Immaculate Conception.
Murphy & Olmsted Architects was selected to design the new library Frederick Vernon Murphy – the “Murphy” in the firm’s title – was the first professor of Catholic University’s Department of Architecture. Starting at Catholic in 1911, Murphy would become the unofficial “University Architect” in helping make Shahan’s vision a reality. He had lent his expertise to the design of all the buildings mentioned above, save the Shrine!
The new Library building would be constructed of Kentucky limestone and Massachusetts granite, with concrete work performed the prolific John J. Earley. The Library’s cornerstone was laid on April 22, 1925. The ceremony included introductory remarks by Shahan, Patrick Cardinal Hayes, and Rev. Dr. Peter Guilday. Emphasizing Shahan’s monumental vision for the campus – and the new library’s role in it – Guilday drew attention to the symbolic alignment of the library with the National Shrine, then also under construction:
“The sun going down to rest in the evening casts across the greensward of our campus a last ray of splendor that falls athwart two buildings…At one end of this golden axis is the National Shrine of the Immaculate Conception now being raised to the glory of the Blessed Mother of God by her loving children of the United States, and at the other, this enduring monument.”
While originally planned with wings for the stacks, funding issues necessitated the building be opened in 1928 with only the front and central portions and the basement levels complete. The additional wings were not completed until 1958, three decades after the library first opened its doors. Interestingly, this project was part of a second wave of construction blossoming on campus, including McGivney, Pangborn, McCort-Ward, and additions to Caldwell and Curley Halls.
It is best we bookend this post with the original 1927 Tower article. While Mullen Library would not open for another year, the students were already playfully reflecting on its promise of alleviating the space and storage issues of the long-standing library facilities. While an elaborate parody piece, it showed that the students wished to see this palace to knowledge survive for 10,000 years, even if it meant they had to carry it across campus to more secure spot!