Wordless Novels

A wordless novel, also known as woodcut novels, is a graphic narrative genre of literature that uses sequences of textless images to tell a story often using woodcuts or other relief printing techniques. With roots in the German Expressionist movement that emphasized emotion and responses, the aggressive black and white images produced by woodcuts enjoyed a revival during the early 20^th century.¹ The content typically contains socialist themes, expressing struggles against capitalism, or stories with strong social messages such as frustration at social injustice.²

These novels developed alongside the silent cinema that displayed thematic elements from fantastic and realistic worlds capturing the already familiar with black and white visuals that told a story.¹ Essentially, wordless novels became a personal and portable silent film.¹ But much like silent films fell out of favor and were superseded by the “talkies”, wordless novels had also reached their peak around 1929-1931. They further fell out of favor during World War II in both Germany, where it was viewed as degenerative art, and in the United States because of the socialist views they contained.

The first book of this type was created by Frans Manereel (30 July 1889-3 January 1972) a Belgian painter and graphic artist who worked mainly in France and favored woodcuts as his primary mode of expression to his death in 1972.¹ Over the course of his life, Manereel produced numerous illustrations and over fifty wordless novels.

Soon enough other artists followed such as Otto Nückel (6 September 1888-12 November 1955) a German painter, graphic designer, illustrator, and cartoonist. Unlike others, Nückel used lead instead of wood to create his woodless novels because of a lack of wood during World War I. Due to his use of lead, Nückel was able to create finer lines in addition to creating depth and focus on his illustrations.¹

Lynd Ward (26 June 1905-28 June 1985), an American artist and novelist created a wordless book called Gods’ Man, which established his reputation as an illustrator. It was a sought-after book during the Great Depression, and is considered a precursor to the graphic novel.³ Where the graphic novel combines text and imagery much like comic strips. Ward’s artistic vision was inspired by illustrations such as those found in Gustave Doré’s Bible.³ Much like Nückel deviated from traditional woodcut so did Ward by using wood engraving which allowed him to create finer lines and more details.² While there are other artists that followed, these three names are the most well-known when wordless novels are discussed.

Image showing the red cover ot Destiny by Otto Nuckel and the black and white cover of God's Man by Lynd Ward

Within the Archives and Special Collections Center, there are two wordless novels. They are dark stories that trace the tragic lives of their protagonist. The second is by Lynd Ward and is a 1930 fifth printing of God’s Man. This wordless novel tells the story of a man who sells his soul for a magic paintbrush which resembles the decorative clock hand. There are 139 wood engravings to tell this Faustian story about an artist “who signs a contract with a masked figure in exchange for fame and fortune. He gains success but soon becomes disillusioned when he discovers the extent to which money, in the guise of his mistress, has corrupted every facet of society. When he assaults her, he is thrown into jail. He eventually escapes, is chased from the city by an angry mob, and jumps into an abyss to avoid his captors. A woman, living alone in the woods, discovers his body and nurses him back to health. The artist discovers happiness in her simple country life. The woman gives birth to their child, and they seem totally content until a masked figure appears and commands the artist to follow him to the summit of a cliff. When the figure removes his mask, revealing himself as the embodiment of Death, the artist recoils and falls off the edge of the cliff to his death”.¹

The second is by Otto Nückel and is a 1930 printing of Destiny. There are over 200 lead-cut prints that tells the story of a woman in Western civilization during the 19^th century. This story

“traces the tragic life of an impoverished woman who is constantly victimized not only by men but by a culture that offers little opportunity for women to survive. The heroine’s drunken father and overworked mother die early in her life, leaving her alone to survive. She works for a farmer in a village where she is seduced by a traveling salesman, resulting in an unwanted pregnancy. After imprisonment for the murder of her unwanted child, she works as a prostitute, forsakes a chance for a traditional relationship, murders a man with an ax during a drunken revelry, and is shot by the police as she jumps to her death from a window of an upper story room”.¹

Both books were a ‘Gift of Otto Baum’ to the University. If you would like to view these books, please submit a Research Appointment Request and reference their catalog records which can be found here for God’s Man and here for Destiny.

References

Beronä, D. A. (2008). Wordless Books : The Original Graphic Novels. Abrams.
Postema, B. Chapter 4: Long-Length Wodless Books: Frans Masereel, Milt Gross, Lynd Ward, and Beyond. In The Cambridge history of the graphic novel(First paperback edition) 2018. Cambridge University Press.
Lynd Ward as illustrator. Lynd Ward As Illustrator | Georgetown University Library. (2001, June 4). https://library.georgetown.edu/exhibition/lynd-ward-illustrator

Fascinating Facsimiles

Facsimiles have been around for centuries. They tend to be an exact copy of a book, manuscript, or other item of historical interest, appearing as close to the original as possible in terms of size, color, and condition. For works on paper, early facsimiles were produced by hand through drawings, rubbings, engravings, and lithographs. By the nineteenth and twentieth centuries, facsimiles were produced using far more complex techniques and equipment as photographic processes developed. In the case of a book or manuscript, facsimiles appear as numbered limited-edition reproductions that can range from a partial to full reproduction right down to the very holes in the pages. Facsimiles are important research and teaching tools that allow researchers and students to closely examine items that would otherwise be difficult or impossible to consult in person due to location, condition, and access policies.

Within the Archives and Special Collections, there are a few facsimile editions of manuscripts, besides the well-known Book of Kells, that the Seton Hall community and researchers alike can view:

Bible Moralisée

The original Bible Moralisée was likely made in 1220s and is held in the Österreichische Nationalbibliothek of Vienna under the shelfmark Codex Vindobonensis 2554, referred to as Vienna 2554. Bible Moralisée, while acknowledge as a title of this work, is French for moralized Bible which is a name given to a distinct genre of Bible that began to appear in the thirteenth century. These Bibles did not include the full text and instead contained illuminated, gothic styled images as a way to interpret and explain scripture, often focusing on teaching morality. Typically, they were for private educational use such as instruction for French kings. While the complete history of Vienna 2554 is unknown, it is said that it could have been commissioned by Blanche of Castille, wife of Louis VIII, mother of Louis IX, and regent of France (1226-1234).

The facsimile is a full-size color reproduction of the entire one hundred and thirty folio original manuscript with trimmed pages according to the original format. The leather binding, differs and is modelled on a contemporary binding found in the Austrian National Library.

Buchaltärchen, Livre-autel (Book Altar of Philip the Good)

The Book Altar of Philip the Good is a painted diptych on panel, depicting the Trinty and the Coronation of the Virgin, and a Christian prayer book, that depicts portraits of Philip, Duke of Burgundy throughout the miniatures, that have been united to create a portable altar. The diptychs open the same as a book with edge decorated to resemble the pages of a book.

The original was created around 1430 and made exactly according to the personal wishes of the commissioner, Philip the Good. He used this daily for quiet devotion and mediation. This 76-page book contains five miniatures in addition to the diptych.

The facsimile is full-size color reproduction of the entire original document, attempting to replicate the look and feel of the original. Pages are trimmed according to the original format. It is bound in brown kidskin leather on wooden panels, decorated with blind tooling. The binding reproduces that of the original.

The Leningrad Codex

The Leningrad Codex is the oldest complete manuscript of the Hebrew Bibles in the Hebrew language using Masoretic text and Tiberian vocalization. It is housed in the Saltykov-Shchedrin State Public Library in St. Petersburg, Russia.

The facsimile edition was published in 1998 and is the first complete facsimile edition with 990 folio pages in black and white including 16 full-page color plates.

The Grandes Heures of Jean, Duke of Berry

The original Les Grandes Heures de Jean de Berry is a Book of Hours commissioned by Jean, Duke of Berry and is held by the Bibliothèque Nationale de France with the shelfmark ms. Lat. 919. This commissioned manuscript was painted by famous artists of the time and lavishly bound before being rebound and losing one image in 1930.

The facsimile within the collections is a partial facsimile of the original manuscript that does not reflect the format or look and feel of the original. The pages are represented on a larger white background but still conveys the grandeur of the original commissioned manuscript.

The Trinity College Apocalypse

The original manuscript, named for its repository, Trinity College, was believed to have been made around 1255-1260 in southern England, featuring the pictorial biography of Saint John the Evangelist with illuminated scenes of the Apocalypses.

The facsimile is a full-size color reproduction of the entire original manuscript and attempts to replicate the look-and-feel and physical features with trimmed pages.

Das Tierbuch des Petrus Candidus : Urb. lat. 276 : Geschrieben 1460, illuminiert im 16. Jahrhundert (The Book of Animals by Petrus Candidus, Codex Urbinus Latinus 276.)

The original Animal Book of Pier Candido, or Pietro Candido Decembrio, was written in Italy around 1460 by Pietro Candido (around 1399-1477 in Milan), a humanist scholar, author, secretary to numerous Renaissance princes, even worked at the chancery of Pope Nicholas V.

His Latin text describes natural history and the life of animals which was appended by an anonymous master around 1550 with over 200 bas-de-page miniatures. In total the book contains depictions of 496 animals, birds, and insects, some of which have gold and silver highlights. But it was just the natural world, satyrs and hybrids as well as other mythological creatures like the Pegasus depicted!

The facsimile is an exact reproduction of the original document in terms of extent, color and size with as much detail as possible to match the original book in terms of scope, format, and colors.

Illustration of a griffin and some birds on a page of the Book of Animals by Petrus Candidus

Illustration of a pegasus and some other animals in the Book of Animals by Petrus Candidus

Gradual of St. Katharinenthal

The Gradual of St. Katharinenthal is a liturgical book that contains chants and notations that were sung in Latin during High Mass. The original manuscript came from the St. Katharinenthal Abbey near Diessenhofen in Switzerland and was completed in about 1312.

The facsimile is a full-sized color reproduction of the entire original manuscript including details such as the size and trimmed pages. The facsimile is bound in nappa leather and decorated with corner fittings, a central rosette, and clasps.

Bruges Hours Vat. Ross. 94

The Bruges Hours Vat. Ross. 94 is a Book of Hours that contains 39 full page illustrations, numerous golden miniatures, and realistic bordures that adorn the margins. The original located in the Vatican Library comes from Bruges near the end of the 15th century or beginning of the 16th century. It is believed there were three illuminators who worked on this text however, they remain unknown, adding an air of mystery to the creation to the Bruges Hours, as does the commissioner of this book.

The facsimile is an exact reproduction of the entire original document (extent, color and size) with as detailed as possible (scope, format, colors). The binding may not correspond to the original or current document binding.

A Vatican book of hours from the circle of Jean Bourdichon, Cod. Lat. Vat. 3781

The original manuscript was created in France in the second half of the 15th century. It was crafted by master illuminator and court painter Jean Bourdichon with the assistance of his pupils for an unknown patron. The manuscript contains 17 full-page miniatures, borders, and over 1,200 ornate initials.

The facsimile is a full-size color reproduction of the entire original document, attempting to replicate the look-and-feel and physical features of the original document; pages are trimmed according to the original format. It is bound in red Morocco leather, decorated with gold tooling. The binding reproduces that of the original.

Masses of Saint Francis of Assisi and Saint Anne

The Masses of Saint Francis of Assisi and Saint Anne is the smallest facsimile in the Archives and Special Collections! Measuring 4 cm x 3 cm, this facsimile contains two missals, St. Francis of Assisi and Saint Anne. The original located at the Vatican, Vat. lat. 11254, was created in the 16th century by an unknown creator. This book features detailed miniatures with decorative elements on every page, detailed and written in gold ink. These small codices were intended to be carried on the person. As was this one, which would have been placed inside a small silver case that was suspended from a chain and worn around the neck.

The facsimile is a detailed reproduction of the entire document (size, format, color). The binding which is red leather with gold trim inside a silver slipcase (engraved with “A” on the front, “F” on the back) on a chain may not correspond to the original or current document binding.

If you would like to view these items for research, have them included as part of a class visit, or have further questions, please email archives@shu.edu

Celebrating the Lives of Two Saints

Please join Archives & Special Collections in partnership with Catholic Studies on February 12, 5-5:45pm for a special evening honoring two anniversaries: the 800th anniversary of the death of St. Francis of Assisi and the 50th anniversary of Saint Elizabeth Ann Seton’s canonization.

Depiction of an immersive art exhibit featuring a 1970s style living room. — Recreation of a 1970s living room in which people might have watched the canonization of Elizabeth Ann Seton on TV as it unfolded.

Archives & Special Collections is marking these important occasions with two exhibitions. In the Walsh Gallery, “One of Us: The Making of an American Saint” celebrates the life and legacy of Mother Seton. An exhibition in the Archives Reading Room showcases numerous editions of Little Flowers of Saint Francis, an anonymous text published at the end of the 14th century. These editions, which were collected by Professor William Connell, date from 1718-1927.

Exhibit featuring several texts, artifacts and a painting of Saint Francis — Reading room exhibit featuring rare texts and a portrait of Saint Francis.

The evening will include walkthroughs of both exhibitions and talks that address the continued relevance of both Saint Francis and Saint Seton today:
5:00-5:15: Introduction to the Walsh Gallery’s exhibit “One of Us: The Making of an American Saint” led by Gallery Director Emily Handlin.
5:15-5:30: Discussion with Father Gerald Buonopane and Angelica J. Gonzalo about their trip to Livorno, Italy.
5:30-5:45: Talk by Professor William Connell on texts about St. Francis kept in the Rare Books collection.

At 6:00 the evening continues with a lecture presented by Christopher Bellitto, Ph.D in the Chancellor’s Suite, Bishop Dougherty Student Center, entitled “Why St. Francis of Assisi Still Matters.”

Exhibit text behind a large touch screen. — While you are there, explore the actual canonization document and scrapbooks from those who were there. Courtesy of the Seton Shrine.

A Visit from St. Nicholas

As Christmas approaches, old traditions are carried out while new ones are created. One tradition many know is the happy reciting of ‘Twas the Night Before Christmas’. But I bet you didn’t know it is actually called A Visit from St. Nicholas written by Clement C. Moore. This little booklet contains original cuts, designed and engraved by Boyd and was published in New York by Spalding & Shepard possibly around the 1960s. The inside cover states:

This is a Happy re-creation of the 1849 illustrated edition of which only two copies are known to exist. That from which this facsimile was reproduced remains behind locked doors in New York’s Fifth Avenue Library.

Measuring 16 cm with a rope tie to keep the pages together, it was probably issued as a Christmas card. In fact, the copy within the collections contains a small inscription on the last page, stating:

Love + Kisses,

Betty, Frank + Judie

Clemente Clarke Moore was a New York born American writer, scholar, even real estate developer who was a professor of Oriental and Greek Literature as well as Divinity and Biblical Learning at the General Theological Seminary of the Protestant Episcopal Church, in New York City. But Moore is best known for his poem A Visit from St. Nicholas.

This poem first appeared on December 23, 1823, in the Sentinel, which was the local newspaper of Troy, New York where it was published anonymously.

Thirteen years after it was published, Moore took credit for its authorship, though his claim has been disputed. Many believe the poem was instead penned by New York writer Henry Livingston.

This piece was unique as it offered a different take on Santa Claus, a figure who was, until up until this point, traditionally depicted as a thinner, a less jolly, horse-riding disciplinarian. He was a combination of stories about the British Father Christmas, the Dutch Sinterklaas, and the fourth-century bishop Saint Nicholas of Myra.

Father Christmas emerged around the 15th century as a symbol of merrymaking and good cheer, dressed in green robes to symbolize the spirit of Yule. Yule, also called Yuletide or Yulefest, is a winter festival historically observed by Germanic peoples with connections to the rebirth of the sun, and was associated with gods like Odin, who was said to lead the Wild Hunt, a ghostly procession through the sky. There are even connections to the Oak King, known as the Green Man, and the Holly King, known as the Red Man. And if you have ever had a Yule log, the tradition comes from this festival. While the Yule log, nowadays is more of a candle holder, the tradition goes that a large log is burned in the hearth to bring warmth and light. And was often kept burning for twelve days, symbolizing protection and prosperity.

Sinterklaas was inspired by Saint Nicholas of Myra. He is depicted wearing bishop’s red robes and mitre, carries a crosier, and rides a white horse. Saint Nicholas of Myra was a Christian bishop born in the 3rd century in Patara which is in modern day Turkey. He is known for his generosity, especially towards children and the poor. His Feast Day is December 6th and this is when children will leave their shoes out, on the stairs or in the hallways, for gifts to appear in.

The poem ultimately paints a Santa Claus that is a combination of these figures but in a different tone: it gave Santa eight reindeer, even named them; it described a Santa who could magically sneak in and out of homes via chimneys; and it created a recognizable cheerful, chubby icon that we know as Santa Claus today, that would be further cemented by companies like Coca Cola and become ever present in holiday cards, movies, television shows, and even malls.

Please listen to the following audio clip for a reading of A Visit from St. Nicholas written by Clement C. Moore.

Walsh Gallery Receives Generous Gift of 15 Artworks

On September 23, the Walsh Gallery was delighted to receive a generous gift of 15 paintings, sculptures, and works on paper from the Gorun family.

The gallery team has spent the last few weeks unpacking, studying, researching, and cataloguing these objects, which encompass a wide range of time periods and geographies. The group includes a 2^nd/3^rd-century statue of Maitreya—a prophesied future Buddha—from the ancient kingdom of Gandahara, a 20^th-century painting by noted German artist Erich Heckel, and five hand-painted illustrations from an early 17^th-century botanical manuscript.

These artworks are rich teaching tools that add dimension and complexity to our current holdings related to world religions, the history of the book, and American and European art and culture. In fact, we have already used several of these objects in class sessions to teach students about 17^th-century encounters with the New World and 19^th-century painting.

Although all of the artworks are special, each member of the gallery staff has a favorite:

Emily Handlin, Gallery Director:

Botanical watercolors, 1618. Gouache on laid paper

These botanical paintings are from a manuscript created in 1618 in Saxony, Germany. The manuscript’s unknown artist painted flowers native to Europe, but also illustrated yucca, cacti, and other plants from the New World, which were all the rage in the gardens and greenhouses of wealthy Europeans at the time. One of the great things about working with museum collections is that the objects lead you to research topics that you would never have otherwise learned about, like 17^th-century botany.

Laura Hapke, Registrar:

Maximilien Luce, The Foundry, c. 1896. Oil on canvas

My favorite piece from the Gorun donation is this painting of foundry workers by Maximilien Luce, in part because I had the pleasure of researching it for the catalog record. I liked learning about Luce–a French painter who lived 1858-1941 and was associated with the Anarchist movement. This painting and many of his other works show his interest in the experiences of working people and how the industrial revolution was impacting the world around him.

Kelly Martin, Gallery Adjunct:

Montague Dawson, Square-Rigged Ship at Sea, 20^th c. Oil on canvas

My favorite work is Square-rigged Ship at Sea by Montague Dawson. The painting is full of interesting contrasts that draw me in: the rich blue ocean contrasts against the soft pink sky, it’s dynamic yet serene, and simple yet masterfully detailed. I especially love the artist’s choice to set the scene at early sunset, which is conveyed only through the color of the sky and the subtle orange hues on the waves. This painting looks like it’s meant to hang above the fireplace of a classically dark wooden office, but it’s also delightfully pink!

John Walako, Gallery Assistant:

David Johnson, Evening, Geneseo New York, 1886. Oil on canvas

What I love about this piece is the way the artist uses light, dark, and color perfectly to create a mood, so much so it’s transformative. The way the sunset and the stillness and water are represented I can almost hear the crickets chirping.

Spooky Stories, Returns!

Welcome to another season of Spooky Stories!

To get into the ~spooky season~ spirit, we wanted to share some stories and tales from the collections found within the The Monsignor Field Archives and Special Collections Center at Seton Hall University. Join Jacquelyn Deppe (Technical Services Archivist & Rare Books Specialist) over the next 10 days as she reads some selections and provides commentary on the works themselves and sometimes the history surrounding them!

To listen to other episodes please click the “Playlist” icon in the upper right hand corner of the video to see the full list of episodes or click here.

How did Mother Seton become a Saint?

Come find out at the Walsh Gallery!

In 1975, America was reeling from soaring inflation, two assassination attempts on the president, and the fall of Saigon—the bitter conclusion of the war in Vietnam. Amidst this cultural and political unrest, over 100,000 people gathered in Rome to celebrate the canonization of Elizabeth Ann Seton—the first American Saint and Seton Hall’s namesake.

To celebrate the 50^th anniversary of the canonization, this special installation will introduce the individuals involved in Mother Seton’s path to sainthood and the story of the official canonization effort. In addition, discover how Seton Hall students have reinforced their faith by traveling to Livorno, the city where Mother Seton first began exploring Catholicism.

Special thanks to The National Shrine of Saint Elizabeth Ann Seton for their generous loan of the installation. Thank you as well to Father Gerald J. Buonopane, Ines Murzaku, and the Catholic Studies Department, and to Angelina Gonzalo for allowing us to display her photographs.

The gallery is located on the first floor of the Walsh Library and is open Monday-Friday 9am-5pm. Due to construction, please use the side door across from the Richie Reagan Athletic Center. Once inside, the gallery will be on your right. Questions? Please contact Gallery Director Emily Handlin at emily.handlin@shu.edu or +1 (973) 275-3795.

Mary Hayrich, Portrait of Elizabeth Ann Seton, 1960. Oil on canvas. Seton Hall University permanent collection

The Walsh Gallery is closed…but our collections are open!

Due to construction in the Walsh Library, the Gallery will be closed over the summer and during the fall 2025 semester.

But, while our doors may be closed, we’ll be working hard to make the Gallery’s collections more accessible than ever. Be on the lookout for new digital content, including on-line exhibitions through Google Arts and Culture and expanded public access to our permanent collection. Plus you’re always welcome to make a research appointment to see artworks and artifacts in person!

To schedule a class session to see artifacts in the reading room, please reach out to Emily Handlin at emily.handlin@shu.edu.

White porcelain prunus tree on black background — Porcelain prunus tree sculpture
Ch’ing Dynasty
Mid to late 18th century China
79.40.10
Wang Fang-yu Collection of Asian Art
Courtesy of the Walsh Gallery

Times Machines Project Presentations at Petershiem 2025

At this year’s Petershiem Academic Exposition, students participating in the Archives’ Time Machine Project got the chance to present their research they have been working on all year.

The Time Machines Project, now in its second year, offers up to 5 undergraduate students the chance to explore a wide variety of materials– including objects, rare books, periodicals, manuscripts, prints, clothing, relics, paintings, pottery, tools, and more– to create projects that showcase the importance, relevance, and appeal of these materials using contemporary media. Throughout the process, participants collaborate closely with Archives and Special Collections staff as well as a faculty mentor, refining their research and analytical skills while gaining foundational knowledge in archival practices and procedures.

Congrats to these students on their hard work and a job well done! Continue reading below for each student’s proposal:

Jacob Mudd:

Jacob Mudd is a sophomore Creative Writing and Visual and Sound Media double major with a minor in English. His project is inspired by Robert Burton’s Anatomy of Melancholy, looking at the role magic played in medicine in the late medieval early Renaissance periods. It includes a creative grimoire that contains a variety of medieval illnesses and their magical cures and is accompanied by a paper that looks at answering the question of whether it would be moral to use magic in medicine from the perspective of someone living during that time.

Mickey O’Brien:

Mickey O’Brien is a senior communications major. His project was to transcribe a recording the Walsh library had of Kenneth Burke, an important communications theorist and rhetorician, speaking at Seton Hall in the 1980s. A call was made by the Kenneth Burke society to see what’s on this tape, so his research is fulfilling that call. He also planned on discussing the findings on the tape with Burke experts on campus, Dr. Radwan, Dr. Kimble and Dean Crable.

Wania Shabee:

Wania Shabee is in her second semester here at Seton Hall University who is pursuing a degree in Biology. Her project for time machines is based on Dr. Francis Monroe Hammond’s papers, who was able to pioneer Minority Academics, especially in a time in America with such great civil distress. Wania created a written piece that focuses on the life and accomplishments of Dr. Francis Monroe, which primarily focuses on his contributions to academia, diplomacy, racial injustice, and improving intercultural, and interregional connections. The format of this written piece is structured as an academic paper, which includes a thorough examination of the life of Dr. Hammond’s career including historical, social, and political elements.

Olivia Pasciucco:

Olivia Pasciucco is a senior History major and Russian & East European Studies minor. She will be graduating this May and aspires to have a career in Museum Education. Olivia’s Time Machines project is: The Sicilian Carretto: A Moving Canvas of Heritage and Storytelling. It is a YouTube video about the Sicilian carretto, what it is, historical background, and cultural significance. For the sake of this presentation, Olivia has provided a PowerPoint presentation for everyone today.

Max Kastner:

Max Kastner is a sophomore majoring in Social & Behavioral Sciences and Modern Languages. Utilizing archival copies of Seton Hall’s student newspaper, The Setonian, their project focuses on Seton Hall’s reaction to 9/11 as a Catholic Institution of Higher Education.

You will be able to view this year’s and last year’s submissions with the link here.

#ManuscriptMondays

Welcome to Manuscript Monday, where every week on Monday during the month of May different manuscripts in the Herbert Kraft Manuscript and Book Leaves Collection will be highlighted! The Herbert Kraft Collection consists primarily of pages from printed books, however there are a few handwritten manuscripts. In the overall collection, the dates range from 750-1950 CE, however in Manuscript Mondays Renaissance manuscripts from the 1400s-1600s will be focused on.

Manuscript Monday is a collection of blog posts written by Helen Jakubowicz, a junior anthropology and history student at Seton Hall. She interned with the Archives and Special Collections for the Spring 2025 semester, and enjoys working with material culture such as religious art and books. She was drawn to this collection not only due to their religious nature, but also because of Dr. Herbert Kraft himself, who was a professor of anthropology, as she wanted to delve deeper into his collection. She loved working with these sources and she hopes you enjoy exploring them as well!

Monday, May 5th

Leaf from a 13th century liturgical book, with “small letters, neat outlines, and the predominance of blue and gold making it unmistakably French in origin” according to Professor Kraft. To learn more about the Herbert Kraft Manuscript and Book Leaves Collection, see the link here.

Monday, May 12th

1. Manuscript Breviary, 1430 CE (illuminated manuscript):Breviary: a book containing the service for each day, to be recited by those in the orders of the Roman Catholic Church (prayers of the canonical hours). This specific breviary was written in Flanders, which is a Dutch-speaking area in Northern Belgium. The pages contain large side panels decorated with bright colors of foliage such as flowers, berries, and leaves. There are also strokes of bright blue, which look like water coming out of the plants. In the text itself, the color continues. There are large illuminated drop caps of red and blue within the gothic script, all containing liquid gold.
From Hortus (Ortus) Sanitatis, 1491 CE (early woodcuts): This woodcut contains details of the healing properties of specific natural elements such as bread, vegetables, herbs, and minerals. A surprising inclusion is cheese! From an image on the woodcut, there could be possible religious connotations to the cheese because there are crosses on them. There are many different copies of the Hortus Sanitatis in many different archives around the world. While Seton Hall only has a few pages, the Smithsonian Library has a full copy.^[1]
Latin Manuscript of South Italy, 1460 CE: In these pages from a Missal, there are color coded texts signifying what the speaker should do during that part. For example, the text written in red ink indicates the speaker to read silently to themself instead of to the whole congregation. There are also red and blue drop caps sprinkled throughout the text itself, giving the pages a pop of color besides the blocks of red text in the normal black.

Works Cited:

^[1] Johann Prüss, Ortus Sanitatis, E-Book (Smithsonian Libraries, 1497), https://library.si.edu/digital-library/book/ortussanitati00prss.