The test-file room sits in the bottom corner of the library, past a card-catalog cabinet of large proportions, under lock and key. Dominated by the hum of elevator shaft machinery, a ticking clock, and the smell of hospital floors & hot cardboard boxes, the room is a safe deposit for psychological tests and mental measurements and stores the library’s phonograph record collection. Do you have a record player and a desire to explore various popular, world, and classical musics? If so, avail yourself of this massive resource! Check out grooves from Iannis Xenakis, Jefferson Airplane, Eskimo folk traditions and way beyond. You can savor leafing through the card-catalog for titles, or browse this online list. Bring us the call numbers for records you’d like to try, and we’ll retrieve them from the room. There’s nothing like that warm vinyl sound…
SPU possess three of the Luther Bibles published by Wolfgang Endter and descendants between 1629 to 1788. The Luther Bibles published by the Endter clan came in three basic forms: the octavo-sized Saubert (from 1726 the Mörl) Bible (1629-1822), and the small and large folio-sized Weimar (1641-1768) and Dilherr (1656-1788) Bibles. All three of the copies owned by SPU lack a firm date of publication, and the first two, an opening title page. For this reason I refer to them by the donor-names Monroe, Marston, and Frost. Monroe, the one featured here, is clearly the earliest. Though it bears internal (and copperplate-based) title pages dated 1643 (not to mention a faint penciled inscription to that effect on a blank—and detached—opening page), this information may not be trustworthy, if only because all three of the copies owned by SPU may be Dilherr (1656-1788) rather than Weimar (1641-1768) Bibles. They appear to be Dilherr Bibles because each meets the three Dilherr criteria specified by Oertel:
1) They are all folio-sized, and they all contain both 2) Johann Dilherr’s “Vorrede an den gottseligen Leser” (only partially still there in Monroe); and 3) Salomon Glassius’ notes (or Nutzen, embedded in the text in Monroe, but marginalized in Marston and Frost). For these reasons (and because the first of the many editions of the Dilherr Bible appeared in 1656), I am inclined to wonder whether those three internal title pages (located at the onset of the Historical books, the New Testament, and the Epistles), though clearly authentic, would match the title page proper, did we have it. (Indeed an excessively suspicious person might suspect that there are signs that the former may have been tipped in. Yet it should also be noted that (and here I contradict myself), the second edition of the Weimar bore 1644 “auf dem gedruckten Haupttitel” (“on its printed main title [page]”), but 1643 “Auf dem in Kupfer gestochenen Titel” (“on the title [page] engraved on copper”) (Panzer, Geschichte (1778), 197).) A further clue may be the fact that, except for the copperplate-based title pages, 4) Monroe is dominated (as an early Dilherr would be) by woodcuts. (Were there two-column woodcuts in the early Weimar editions?)
But there are also reasons to think that, if a Dilherr, it may not post-date 1679: the fact that, possessing only a Register of Sunday Gospel and Epistle readings, 5) it lacks the traditional four Registers transferred over from the Weimar Bible from 1720, the fact that 6) it sports no engraving of Luther and his family, and the fact that 7) it appears to lack a feature characteristic of Weimar Bibles and also many Dilherr Bibles from 1679, namely the copperplate engravings of the eleven Saxon Herzöge.
So though it is entirely possible that Monroe could date from 1643, or even be a second (i.e. 1644) edition of the Weimar rather than a Dilherr, I would place it for the time being tentatively somewhere between 1656 and 1674 (which is the date of the last Dilherr edition before the one dated 1679) inclusive.
Nonetheless, because a lot has been published on these Bibles, a great deal of additional progress could, given time, be made. (So for my latest thoughts on this, see the exhibit notes themselves.)
This Endter Dilherr (?) Luther Bible was a gift of SPU Instructor of Nursing Heidi Monroe, who says that it would have come over from Germany with her paternal great grandfather Hermann Robert Baum, who was a druggist and the proprietor of the former Baum’s Pharmacy in San Francisco.
Possible fuller title: [Biblia, das ist, die gantze heilige Schrifft dess alten und neuen Testaments. Wie solche von Hernn Doctor Martin Luther Seel. im Jahr Christi 1522 in unsere Teutsche Mutter-Sprach zu übersetzen angefangen anno 1554 zu End gebracht. . . .]
- Steve Perisho
- Oertel, Hermann. “Die Frankfurter Feyerabend-Bibeln und die Nürnberger Endter-Bibeln.” Mitteilungen des Vereins für Geschichte der Stadt Nürnberg 70 (1983): 75-116.
- Zwink, Eberhard. “Endter-Bibeln: Die Luther-Bibeln der Druckerei Endter, Nürnberg,” Würtemburgische Landesbibliothek Stuttgart.
In 1994, auteur director Krzyszstof Kieslowski completed his final film Red, the last entry in a trilogy of films based on the colors and values of the French flag: Blue for liberty, White for equality, and Red for fraternity. In Red, Kieslowski attempts to show us fraternity in all its variations: the relationships we share with friends and family members, the undiscovered bonds between ourselves and others, and even connections that don’t yet exist, but might be fated to occur.
Red is set in the city of Geneva, in Switzerland: cosmopolitan, charming, old-world, eerily austere. On a drizzly night, a fashion model, Valentine Dusseau, is commuting home from a runway show. Tired and lonely, her boyfriend off somewhere in Poland for unknown reasons, her eyes not on the road, she hits a dog. This unfortunate run-in leads to the central fraternal pairing in the film: when Valentine returns the dog to her owner, she meets her foil, a bitter old Prospero, the retired judge Joseph Kern, who spies on his neighbors with high-tech radio equipment.
As Valentine and the judge are drawn together, we meet some of the people he spies on. One of them, a young man named Auguste Bruner, appears as a metaphysical shadow of the aged judge. Auguste too is studying to become a judge, and bears more than a passing resemblance to Joseph. In another parallel, Auguste is also betrayed by his girlfriend, just as Joseph had been forty years prior. Most importantly, Auguste is Valentine’s neighbor. Somehow, strangely, they’ve never met, but we sense it is only a matter of time before they do. Like so many other things in Red, their meeting is left to fate. There is something portentous in the air–the characters sense it, catch a whiff, and aren’t quite able to describe what is going on, or what is drawing them together.
After completing Red, and vowing that it would be his last film, fate stepped in and disallowed Kiewslowski from changing his mind. He passed away in 1996 from complications following a sudden heart attack. It was a swift and cutting blow for all who had seen his films. Kieslowski’s death deprived the film world of one of its most insightful observers of the complexity of persons, and the bonds between them.
Kieslowski’s Red, White and Blue, live on the main floor of the library, address PN1997 .T669 2001 DVD.
One of my favorite spaces in the library is the media room, nestled in the southwestern corner of the lower level. The room is dominated by a 46” flat-screen monitor, a DVD/VHS combo-player, and hookups and cables allowing you to connect most any computer or audiovisual device to the screen. Four comfy chairs surround a rolling table, whose surface is just the right height to take notes or rest mugs of tea. Reserve this room online and have your own private screening room for anywhere from half an hour to three hours. Contact the Tech Desk if you need help setting anything up. Fully equipped and private, it’s a perfect spot for you and some friends to screen class projects, view assigned media, or watch that Polish art-film loaned from Summit you’ve been dying to see. Happy viewing!
Are you observing Lent this year? Lent is a forty-day period of reflection and preparation for Christians, as they wait for the celebration of Christ’s death and resurrection on Good Friday and Easter. Many traditions are observed during Lent; in the next few weeks, you can learn about and participate in some of these traditions at the library.
On our monthly book display table, you will find items that can “cast a mood” for contemplation. Consider watching a film that has such a Lenten cast, such as Babette’s Feast, or Chocolat. Or immerse yourself in our collection of sacred music. We’ve even dug selected vinyl LP’s out of our closed stacks, so take this opportunity to hear works of Tallis, Vivaldi, Pärt, Vaughan Williams and others.
The avenues of individual meditation during Lent are diverse, as some of the books on the table reveal. Jane Mossendew devotes each day in Lent to describing various garden plants and methods for cultivating them, in her “Thorn, Fire and Lily”. Paul Wesley Chilcote pays close attention to the songs of the church in his “The Song Forever New: Lent and Easter Meditations on Charles Wesley’s Hymns.” And Evelyn Underhill plumbs the depths of the heart, as always, in her meditations for Lent, edited by G.P. Bellshaw.
Finally, in our reading room, we have constructed a “prayer labyrinth” to allow you a few moments to center down, and reflect on the approach of Easter. Used by people of many faiths since ancient days, a labyrinth is a maze-like walking path used to aid one in contemplation and quiescence. Ours is constructed from green and white books laid out like dominoes, spiraling around in a looping switchback pattern. As you rush around squaring things at the beginning of term, take a turn in the labyrinth and recollect yourself.