The New Morgan Manuscript of Titus and Vespasian

PMLA ◽  
1961 ◽  
Vol 76 (1) ◽  
pp. 20-24
Author(s):  
Curt F. Bühler
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Fifteenth Century ◽  
Morgan Library

Under their number 1881, Carleton Brown and Rossell Hope Robbins listed ten manuscripts which contain the romance of Titus and Vespasian written in couplet form. Since the publication of the Index, however, at least two more manuscripts of this work have come to light, the Earl of Derby (Knowsley Hall) codex and another recently acquired by the Pierpont Morgan Library. The present investigation concerns the latter manuscript, for which the following description may be supplied:M 898, collection: The Pierpont Morgan Library, New York. Manuscript on vellum (5 5/8 ⋉ 3 7/8 inches). Collation: a-m8 n5, wanting al = 100 leaves. 20 lines. Written (black ink with chapter headings or résumés in red, and rubrication in blue) in England in the fifteenth century. Bound in nineteenth-century brown morocco by F. Bedford. With the book-plate of Sir Henry Hope Edwardes (his library was sold at Christie's, 20 May 1901).

NATURAL HISTORY ILLUSTRATION

2005 ◽  
Vol 33 (1) ◽  
pp. 314-318
Author(s):  
Barbara Gates
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
North America ◽  
Natural History ◽  
American Philosophical Society ◽  
Eastern United States ◽  
British Science ◽  
The Subject ◽  
Morgan Library

INTEREST IN VICTORIAN natural history illustration has burgeoned in recent years. Along with handsome, informative shows at the Pierpont Morgan Library in New York (“Picturing Natural History”), at the American Philosophical Society (“Natural History in North America, 1730–1860”), and at the Royal Botanical Gardens in Melbourne (“Nature's Art Revealed”), the year 2003 saw an entire conference devoted to the subject in Florence, Italy. In 2004, the eastern United States was treated to two more fauna- and flora-inspired shows, both dealing specifically with nineteenth-century British science and illustration.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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