History of the Book 2024

Baedeker travel guides were premiere copies bought and loved by millions of travelers from the mid-19th century onwards. Baedekers raised the standard for modern-day guidebooks, their content, format and organization informing what we understand to be an excellent guidebook by today’s standards.

Bookseller and publisher Karl Baedeker’s creation of these informative travel companions was sparked after taking a trip to Paris. He found that the guidebooks he came across were severely lacking in terms of enriching cultural content, linguistic aids and illustrated maps. Baedeker pursued his passion project of creating a premiere set of guides complete with detailed maps of each region to facilitate easy navigation for travelers, a star rating system to inform level of luxury, transit information to allow travel via the growing rail networks, as well as advice on how to navigate local customs.

The explosive success of Baedeker fueled an uptick in mass tourism from the mid to late 19th century. These travel guides made traveling for leisure accessible to ordinary people, bought by both aristocrats and travelling explorers as planning tools to explore the world’s most renowned tourist destinations. Independent travelers empowered with the information to craft their own journeys abroad embarked on trips pocket-money friendly, not having to rely on the Grand Tour, an expensive expedition only

With the publishing of travel guides like Palestine and Syria, Karl Baedeker’s empire opened the door to millions of ordinary travel hungry people. The practice of travel previously privileged only to young, aristocratic men now opened up to include all sorts of different people. Originally printed in German, as Baedekers gained popularity they were translated into Italian, French and English for readers across Europe to enjoy.

Bibliography

Dawson, David. “The History of Baedeker Guidebooks.” Gothic Futurism, 1 Jan. 2024,
gothicfuturism.com/travelling-the-world/the-history-of-baedeker-guidebooks/.

Sorabella, Jean. “The Grand Tour: Essay: The Metropolitan Museum of Art: Heilbrunn Timeline
of Art History.” The Met’s Heilbrunn Timeline of Art History, Oct. 2003,
www.metmuseum.org/toah/hd/grtr/hd_grtr.htm.

How might the history of a publisher bring a book into context—even with no indication of who actually edited it? A Selection of One Hundred and Forty of the Most Favourite English, Scotch, Irish, and American Songs was published by the press of “A. Loudon,” as according to its title page. Archibald Loudon’s deep roots in Carlisle, PA provide a clear outline of his cultural and publishing interests. They even strongly suggest an answer to the mystery of whether he himself edited A Selection, or if he republished the whole collection. One of the few things we can attempt to trace about the book are Loudon’s reasons for publishing it, beginning with the context surrounding his career.

Books were Loudon’s “life-long pursuit” according to historian Eric Fretz. Loudon’s frantic history of inserting himself into early Carlisle’s publishing world reflects this passion: even before the opening of his own publishing press, he participated in the book-loving community of the town. He engaged in book-binding, sold stationary, and was established postmaster of Carlisle in 1802 (Fretz 62). His duties as postmaster were not unimportant tasks, and impacted the spread of information locally. The management of post caused political opinion impact, influenced monetary management, and the title itself indicated a position of high governmental trust. Hungry for more, he officially began his publishing career through a friend: George Kline, who printed Loudon’s publications prior to the opening of Loudon’s press in 1804 (Fretz 62). As for A Selection, it was published by Loudon’s own press in 1806, fresh off the excitement of its opening two years prior.

Loudon’s devotion to the literature-world of Carlisle was so intense that despite the small magnitude of his success as a publisher, more than one historian (including Eric Fretz and William A. Hunter) considers him one of the most important printers of early Carlisle. Fretz characterizes Loudon as a “disseminator of early American culture” (Fretz 61), justifying this title by describing his varied publishing interests and role as postmaster. Loudon did, in fact, intend to spread his publications as far as possible, and to do so by appealing to the most popular subjects of the time. Loudon was known to be “keen as to social trends” (Fretz 64), and seemed to attempt to balance these wider social trends with local interests. He spent much of his effort editing his most well-known publications, a series of “true accounts” taken from a number of American-colonial interviewees regarding their encounters with local indigenous American populations. American “frontier” stories were a consistent interest of Loudon’s and of the larger Pennsylvania populace at the time, too: stories of white settlers waging war against Native Americans spread rapidly (Fretz 64). His enthusiasm for spreading local stories continued through the establishment of his own paper, The Cumberland Register, from 1805-1813 (Hunter). But Loudon was also infatuated with the world of art, especially theater. He published a significant number of plays, was a well-known enjoyer of music, and even published the work of a little-known Cumberland County poet, Isabella Oliver (Fretz 62). Loudon was ardent, and his publications from his own press were both edited and printed by him. Considering all this interest in music and theater, A Selection joins the ranks of a large number of artistic publications that Loudon dedicated time to during his career, bearing the obvious mark of his press:

The image above displays the book imprint of A Selection, “Whitehall,” used as Loudon’s imprint from 1805-1809 (Schaumann). The nickname refers to the white walls of Loudon’s press, formerly located at 28 High Street. In fact, his old paper press from the building was obtained by the Cumberland County Historical Society—it hasn’t moved very far! It stands in the museum as a reminder of the early impact of Loudon’s press, and I’ve included an image of it for reference. (For context, the paper press would’ve been used to make paper sheets more even, flat, and dry by pressing. The plaque next to the press includes these details.) The “Whitehall” imprint, displayed clearly in A Selection’s front page, is another bold reminder of Loudon’s press and the pride he took in it.

Another point of pride for Loudon was his ancestry. From what I can tell, it has influenced nearly all of his publication interests, A Selection included due to its inclusion of Scottish and Irish songs in its compilation. In fact, though there is no indication of which songs are of which cultural origin, Eric Fretz identifies the majority as Scottish (63). Loudon’s parents were Scottish immigrants, and moved to America in 1754 (Hunter). Most families in Carlisle during its early history as a town were made up at least in part of Scottish or Irish folks who immigrated to British colonial America. Another significant part of A Selection is American “frontier” songs, ones discussing the founding fathers, military power, and colonization, especially George Washington (Fretz 63). These songs accurately showcase Loudon’s blatant “pioneering” interests (Hunter), and correlate with his most popular publications of stories of war with Indigenous Americans. In fact, Loudon’s family has a history of violent conflict with local Native American populations, attempting first to settle on Indigenous land before relocating, causing Loudon to eventually settle in Cumberland County (Hunter). William A. Hunter notably skims swiftly past the conflict between Loudon’s family and local Indigenous peoples, choosing to focus on how it impacted his future edited story collection. However, there is far more substance to this direct link, including his consistent interest in popular “frontier” stories, his dedication to “disseminating” Scottish/Irish-American colonial stories, and the American songs included in A Selection.

Interestingly, through a Cumberland County Historical Society article on Loudon, I’ve been able to find a portrait of him, as seen above. He appears quite stoic, his expression neutral and focused and his dress professional. He’s perhaps distant, both in his place in the larger space of the portrait and in the way he faces the side, not the front, and does not look at the viewer. There aren’t any extra objects, colors, or lighting included in the portrait, leaving all the focus on Loudon and his impression. From my research, the portrait seems to be an accurate depiction of his hunger for himself and his business to be seen and successful, and this intensity and focus comes across. The portrait, though unrelated to A Selection, makes an interesting addition to supplement Loudon’s familial background, career, and known character.

With those three attributes above for context, it becomes clear why Loudon would take interest in publishing A Selection. But the mystery remains of whether Loudon reprinted the compilation entirely, or edited the selection himself, something that Eric Fretz only touches on briefly as a question (63). To me, however, answering this question is vital to my thinking about my project—so I’ll offer a hypothesis with the above evidence I’ve gathered. Due to Loudon’s personal connections with the cultural origins and topics of the songs included in A Selection, I believe he had some hand in editing the collection. The subject of the compiled songs align with Loudon’s publication history, and with his interest in art and music. This would imply that the “most favourite” songs were Loudon’s own “most favourite,” adding personality and clarity to the book’s title. After all, why would the songs not be some of Loudon’s “most favourite” if he took pride in colonial expansion and his Scottish ancestry?

The main issue with this answer is that Scottish and Irish immigrants made up the majority population of Carlisle. It isn’t impossible that the compilation in its entirety could have existed prior to A Selection’s publication, and suited the interests of another editor or publisher. However, since I am unable to find proof of its existence prior to Loudon’s publication (as are the historians discussing early Carlisle publications), I’ve settled largely into my previous theory. If nothing else, it is a fictitious story that ties Loudon’s history and this book’s publication together in a neat and well-researched bow.

Bibliography:

A Selection of One Hundred and Forty of the Most Favourite English, Scotch, Irish, and American Songs. 1806. SC 398 87 S698. Dickinson College Archives & Special Collections.

Fretz, Eric. “Archibald Loudon of Carlisle: Disseminator of Early American Culture.” Cumberland County History, vol. VII, no. 2., pp. 61-67. Cumberland County Historical Society.

Hunter, William A. “Archibald Loudon, Pioneer Historian.”1962. C H H947a. Cumberland County Historical Society.

Schaumann, Merri Lou. “Archibald Loudon (1754-1840).” Elizabeth V. and George F. Gardner Library, Cumberland County Historical Society, gardnerlibrary.org/encyclopedia/archibald-loudon-1754-1840.

Image Credits:

Oil on canvas of Archibald Loudon, painted in 1807 by Cezeron (1952.005.001). https://gardnerlibrary.org/encyclopedia/archibald-loudon-1754-1840.

Remainder of images taken by iPhone, by author.

Random House’s First trade edition of Moby Dick; Or the Whale with illustrations from Rockwell Kent affected the life and modern conception of Melville’s novel in two distinct and interesting ways. First, this edition contributed significantly to the popularity of the novel and second its impact on the growth of Moby Dick scholarship and literary studies more broadly.

Given our modern perspective and understanding of Moby Dick within the American literary canon, I am shocked to learn that Melville’s novel languished in relative obscurity at the beginning of its life. In 1920 literary scholars began to gain traction leading to the growth of the story’s popularity with the broader reading public. The fame of the novel grew further in 1926 with the creation of The Lakeside Press’s 3-volume edition with illustrations from Rockwell Kent. The explosion of the novel’s notoriety came with Random House’s publishing of the First trade edition in 1930 in Octavo format, which is the subject of this post. Perhaps, the success of this edition comes from the fact that it is the perfect size for the average reader’s hand. The 3-volume edition, published by The Lakeside Press, uses a folio format and functions as a coffee table book. The more useable Random House edition better combines the function of the novel as both a work of art and a useable item. (Manhattan Rare Books Company, 2024).

            One can easily see why this edition plays such a critical role in Moby Dick’s rise into the upper echelon of American Literary Achievement. The Manhattan Rare Books Company wrote that this edition represents “one of the greatest matches between illustrator and subject matter in the history of print.” I agree complete with this analysis. After reading the novel with these engraving included, I noticed the fantastic nature of the images and wondered if the novel could exist without them. This ties into Roger Chartier’s idea that authors do not write books; they write texts(Chartier, 2015). The craftsmanship of the printers and the talent of Rockwell Kent make this edition of Moby Dick truly special. Consider the last book you read. Would you have the same reading experience if you read a low-quality edition?

            Bad or low-quality editions significantly damage the reading experience. Yes, there is nothing wrong with reading paperback editions, and for the most part, these are the version of texts I read, but a fantastic edition makes for a sensational reading experience. Indeed, I as a reader have a deep attachment to beautiful books. I enjoy holding high-quality work and feeling the effort of the variety of artisans whose creation I have the opportunity to experience. Currently Penguin Random House produces a clothbound edition of Moby Dick in their “Penguin Clothbound Classics” line of products. Perhaps, we as a society think that classic texts prove themselves worth of the beauty that truly talented artists imbue into their physical forms Rockwell Kent’s stunting illustrations contribute significantly to the already tremendous reading experience. While, yes, Melville’s prose is elegant, there is something special about opening the novel and seeing a full-page picture of Ishmael.

The editions with illustrations from Rockwell Kent hold a unique position at the center of scholarly intrigue. This book’s position as a work of art and one of the great triumphs of illustrations in the history of printing leads scholars like Matthew Jeffrey Adams to consider the role of these images in the development of academic writing surrounding the novel more generally. Adams argues that Kent’s work functions as literary criticism because of his extensive research into Melville’s source material and visual inspirations. Kent then employed these same images in his own artistic rendition. Adams also suggest that Kent’s work begins the development of the academic discipline “Melville and the Visual Arts.” (Adams, 2018). I agree with Adams’ argument. Obviously, Kent put significant work into researching his illustrations. The design of the images perfectly integrates with the text as seen in the image above. The chapter finishes detailing Ishmael’s journey to New Bedford and immediately see the engraving of Ishmael walking. So, just as I established my mental imagine of Ishmael and his journey Kent presents his own. Thus, providing me with the opportunity to compare our visual understanding of the character. This is such a fun experience that I find it difficult to imagine reading the novel without it.

Indeed, Moby Dick; Or the Whale’s history is long and rich, beginning with its publication in 1851 and its 70-year journey to fame and rightful position at the heart of the American literary canon as well as its role at the subject of extensive scholarly research.

            With prices on rare book websites ranging from 1,500 to 4,500 dollars this edition has monetary value. There are, of course, much more valuable books out there like the Sarajevo Haggadah or the first edition of the Gutenberg Bible. As a subject of scholarly and recreational interest as well as a symbol of American Literary culture and canon this edition has significant value. Further, we should consider this version an example for future generations. Even as we continue with digitization efforts, and the eBook market continues to grow, we must still remember the value of high-quality physical copies. These editions possess the opportunity to bring authorial and visual art together. We must work to maintain this fantastic element of physical culture.

Works Cited

Abrams, Matthew Jeffrey. “Illuminated Critique: The Kent Moby Dick” Word & Image, Vol.33, no.10, 2018. https://dickinson.primo.exlibrisgroup.com/permalink/01DICKINSON_INST/1d86qtd/cdi_scopus_primary_2_s2_0_85041602666. Accessed 6 November 2024.

Chartier, Roger. “Communities of Readers.” The Broadview Reader in Book History, edited by Michelle Levy and Tom Mole, Broadview Press, 2015, pp.251-266.

“Melville Herman. Rock Well Kent. Moby Dick” Manhattan Rare Books Company, https://www.manhattanrarebooks.com/pages/books/2845/herman-kent-melville-rockwell/moby-dick-moby-dick. Accessed 6 November 2024.

“First Edition Points and Criteria for Moby Dick (illustrated by Rockwell Kent)” First Editions Points, http://www.fedpo.com/BookDetail.php/232. Accessed 6 November 2024.

“Moby Dick by Melville, Hardcover, Random House” AbeBooks, https://www.abebooks.com/servlet/SearchResults?an=Melville&bi=h&bx=off&ds=30&pn=Random+House&recentlyadded=all&sortby=1&tn=Moby+Dick&wassortselected=true&yrh=1930. Accessed 6 November 2024.

Richard Knolles’ The Generall Historie of the Turkes has enjoyed a long afterlife. Since its first publication in 1603 later scholars republished and updated the book, and it gained the respect of notable writers. The copy which now resides in the archives of Dickinson College, a first edition, bears witness to this four-century long history. While the provenance of this copy only becomes clear from the mid-twentieth century, the book carries several marks of this past–seemingly having been subject to many repair jobs.

From the moment it of publication in 1603, The Generall Historie became an instant classic. The book, being the first major English work tackling the history of the Turks, garnered an appreciation for Knolles’ ability to create a narrative from different sources (Woodhead 2004). This regard can be seen by the fact that The Generall Historie got republished in six editions in its first century of existence (Woodhead 2004). These were not mere reprints either; other authors such as Edward Grimeston extended the narrative to the year of their publications using diplomatic dispatches, even after Knolles’ death Woodhead 2004). That subsequent scholars felt the need to regularly update the history marks it as something special.

Scholars endured in their appreciation for the work. Writing in The Rambler no. 122 over a century after Knolles wrote his book, writer and critic Samuel Johnson praised him as the best historian England ever had, and that The Generall Historie in particular, “displayed all the excellencies that narration can admit” (Johnson 1751). The book’s influence does not stop there; Its fans included Lord Byron, and scholars believe it influenced even the writing of Knolles’ contemporary, Shakespeare (Bingham 2017). All this is to say that, centuries after first being put into print, The Generall Historie became immensely popular and shaped the English world’s perception of the Ottoman Empire and of History writing.

Figure 1: the beginning of the Discourse section

One question that that emerged during my research is over the book’s last section, titled “A briefe discourse of the greatnesse of the Turkish empire.” According to the Oxford Dictionary of National Biography, Knolles added this section starting with the second edition, making its presence in a first edition striking (Woodhead 2004). It of course could have been added after the fact–it starts at the beginning of a gathering, according to the signature mark–but that the page also contains the end of the proper narrative bugged me (figure 1). Surely the placement would not so neatly align between editions, and the discourse would start on a separate page. As an amateur I could not discern if this section got added afterwards by physically examining it, so comparing it to other copies became my best bet. I found a digitized first edition on Google books, and it matched Dickinson’s copy exactly, and a digitized 1631 edition on the Internet Archive has the same discourse on its own page after a continuation of Knolles’ narrative. It is certainly possible that two copies could have been altered the same way, but I believe this is doubtful. More work must be done to know for sure. Two possible scenarios include the title page simply wrong, or that the ODNB’s claim is incorrect.

Figure 2: various marks and doodles picked up over the centuries

Besides this possible addition, the only marks from the first few centuries of the book’s life are scant doodles and the wear of time (figure 2). More recently, however, the book has seen quite substantial repair work. Certain pages have extensive decay; large chunks of paper missing and their edges frayed. In these areas, someone has added a backing of a thin sheet of perhaps rice paper to stabilize the damage (figure 3).

Figure 3: An example of extremely worn pages with repairs

There have also been missteps. On page 534 and 535, another person appears to have placed several pieces of tape, the adhesive leaving massive brown stains on the pages (figure 4). It is unknown when work occurred, but they certainly wanted to preserve this copy.

Figure 4: Tape and stains from the adhesive

During the early 1940s Dickinson’s copy finally surfaces in the historical record. At some point, this copy came into the possession of Francis Wayne McVeagh. According to an inscription on the reverse of the title page, he gifted the book to his friend T. Edward Munce on June 13, 1941. An alumnus of Dickinson College (class of ’39), he sent the book to the institution in 1958 according to a memo, where it has resided ever since

Figure 5: Memo that dates when The Generall Historie came to Dickinson

(figure 5). This paper trail may give insight into another of the book’s mysteries: when it got rebound. The current binding is not original; the endpapers are of a much different stock, and the title on the spine has the modern spelling for starters. This begs the question of when this rebinding took place? A clue might be that MacVeagh’s message to Munce is written on the title page. Why not on write this on the blank endpapers instead of the centuries old paper? Munce wrote his name on the endpapers at some point, so why not MacVeagh? A possible solution could be that the rebinding occurred when MacVeagh or Munce owned the book. MacVeagh could not have written on the endpapers because they did not exist. This theory is, admittedly, a stretch. The work required to definitively prove this one way or the other is beyond my ability, requiring someone properly trained in book conservation and history.

The Generall Historie of the Turkes has been enjoyed by countless readers over the centuries. As an important work of history, its value has been recognized by several of those readers. As a work of history, it serves as a testament to that discipline’s early beginnings. The quality of Knolles’ narration impressed many critics over the centuries like Samuel Johnson. The care put into its restoration by a mystery book conservator who repaired this copy’s pages proves many people have recognized the immense value in its pages. The Generall Historie of the Turkes has had quite the afterlife indeed.

Works Cited

Bingham, Jonathan. “On Jon’s Desk: The Generall Historie of the Turkes, a beautiful book

linking the past with the present.” The University of Utah, 27 Mar. 2017, https://openbook.lib.utah.edu/tag/the-generall-historie-of-the-turkes/.

“Generall Historie of the Turkes First Edition – Richard Knolles.” Bauman Rare Books

<https://www.baumanrarebooks.com/rare-books/knolles-richard/generall-historie-of-the-turkes/111711.aspx>

Knolles, Richard. The Generall Historie of the Turkes. Adam Islip, 1603.

Knolles, Richard. The Generall Historie of the Turkes. Adam Islip, 1603. Google Books.

https://books.google.com/books/about/The_generall_historie_of_the_Turkes.html?id=BudbAAAAcAAJ.

Knolles, Richard. The Generall Historie of the Turkes. Adam Islip, 1603. Internet Archive, 2

Mar. 2021, https://archive.org/details/dli.ministry.02270/page/n805/mode/2up.

“The Rambler.: [pt.4].” In the digital collection Eighteenth Century Collections Online.

University of Michigan Library Digital Collections. https://name.umdl.umich.edu/004772607.0001.004.

Woodhead, Christine. “Knolles, Richard.” Oxford Dictionary of National Biography, Oxford

University Press, 2004. https://www.oxforddnb.com/display/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128- e-15752?rskey=i063hN&result=1#odnb-9780198614128-e-15752-div1-d1770859e286.

Figure 1
The signatures of Hatty and Alice B. French

In my previous post on An Almanack, I determined that this book is not an almanac by any means. The book does not contain meteorological predictions, but rather the children’s literacy pamphlet The New England Primer. However, in understanding this book to be a children’s text the inclusion of owner’s names helps determine the afterlife of the present copy of An Almanack. Although difficult to read due to the combination of foxing and the writing being in pencil, the inside cover has the signatures of sisters Hatty and Alice B French (fig.1). I used Ancestory.com for much of the information I was able to collect on the sisters, who thankfully provided New Hampshire as their residency as “N.H.” (fig. 1). Including their residency made finding them much easier on Ancestory.com, I was able to narrow down the search results and it helped to ensure that I had the correct people while I was looking through documents. Hatty and Alice were the youngest of 9 siblings and the daughters of Stephen and Sarah Stevens French. Harriet “Hatty” Augusta French was born on April 19th, 1848, and passed away on November 8th, 1888. Little is known about Hatty as she never married and did not have any children. There is, however, a wealth of information about her younger sister Alice that contributes to the concept of how An Almanack was intended to be read and its value by the church.

Figure 2 The New London Literary and Scientific Institution record

Alice Bird French- Mills was born on August 25th, 1851, and passed away on May 20th, 1912. There are records of Alice attending the New London Literary and Scientific Institution in 1871, and Boston University in 1877 (fig. 2). Alice is attributed the title Doctor, which was rare for women in the late 1800s, with approximately 2,432 women practicing as doctors according to Hobart and William Smith Colleges. Dr. Alice Bird French married her husband Dr. Henry Mills in April of 1880, the same month she earned her degree. Henry had previously been married twice, both wives passed away along with the three children he had fathered with them. He was 78 when he married Alice, while Alice was only 29. The two did not have any children but rather conducted work together at their sanitorium until Henry’s death in 1897. Sanatoriums in 1880 as isolated environments used to treat tuberculosis (Harvard Library). The exact sanatorium the two worked at is unknown but sanatoriums were common in New York, the residence of the couple following their marriage. 

On February 19th, 1900, Alice applied for a passport which she was granted. The passport allowed for her to travel Syria and Palestine for a year when she returned in 1901 fig 3. There is however no record of this trip, apart from the dictation of such on Ancestory.com. After her return to the country, she began to preform medical missionary work as part of the Presbyterian church. The Womans Board of Home Missions was the organization she worked for in the Appalachian Mountains. She lived out the rest of her life in West Virginia, doing missionary work in Coal River, Dry Creek, and Raleigh County. She passed away in New Jersey.

Figure 3
The passport application of Alice B. French

The information learned about Dr. Alice Bird French- Mills explains how An Almanack was used in 1850. Raised in a religious household, Alice and her siblings, especially Hatty due to her birth and the publication being four years apart, would have likely learned to read the New England Primer within the almanac. English was taught through a religious lens, including the alphabet taught in relation to biblical stories, with images and brief references. Even the introduction of An Almanack makes the claim that the book was held in such regard that it would be placed next to the Bible on a bookshelf. Alice becoming highly educated as well as a missionary supports the idea of the Primer as a tool to educate children in English and religion.  

Figure 4 & 5 The religious stories used to teach letters, and the introduction describing the importance of the primer

Works Cited 

AncestryLibrary. Ancestry.com, ancestrylibrary.com. Accessed 2 Nov. 2024. 

“Contagion: Historical Views of Diseases and Epidemics.” Curiosity Collections, Harvard Library, curiosity.lib.harvard.edu/. 

Justin, Meryl S. “The Entry of Women into Medicine in America: Education and Obstacles 1847-1910.” Hobart and William Smith, Hobart and William Smith Colleges, www.hws.edu/about/history/elizabeth-blackwell/entry-of-women-into-medicine.aspx#:~:text=By%201880%20there%20were%202432,by%201900%20there%20were%207387.&text=The%20first%20medical%20society%20openings,of%20acceptance%20for%20female%20practitioners. Accessed 8 Nov. 2024. 

New Hampshire State, General Court, Assembly, Census. Assembly Document. 15 June 1860. Ancestry Library Edition, ancestrylibrary.com. Accessed 8 Nov. 2024. 

Newman, H. (1843). An almanack containing an account of the Coelestial Motions, Aspects, &c. For the year of the Christian Empire, 1691. Ira Webster. 

“Passport Request.” 15 Feb. 1900. Ancestry Library Edition, ancestrylibrary.com. Accessed 8 Nov. 2024. 

U.S., School Catalogs, 1765-1935. Ancestry Library Edition, ancestrylibrary.com. Accessed 8 Nov. 2024. 

Nestled in between the dust jacket and cover page of “Gospel Hymns Combined” rests the calling card of a familiar donor to the Dickinson College Archives (figure 1). George Alan, professor of philosophy and theology from 1963 to 1974, subsequently served his community as dean of Dickinson College until 1996 with a brief one-year stint as interim president after his predecessor had resigned his duties in the winter of 1986.

Figure 1: Calling card of Dr. George Allan, Dickinson Archives.

After completing a four year degree at Grinnell, he earned a master’s degree in systematic theology at Union Theological Seminary and then a Ph.D in Philosophy at Yale. Dr. George Alan maintained a special fascination with the spiritual his entire life, further noted by his membership in the Metaphysical Society of America. Prototypically scholarly, the gentle lines of wisdom that would one day wrinkle his brow would begin taking root in 1935 at the bleak cold of dawn of the blistering winter plains of North Dakota (figure 2). Dr. Alan notes in an autobiographical sketch from 2012 that his “Whiteheadian” interpretation of life was rooted in “North Dakota realities”, primarily due to the Depression era mentality of his family, “celebrating the good things when they came and when they were gone rejoicing that once, uniquely and fortunately, they had been.”

Figure 2: Dr. George Allan.

Whitehead’s doctrine emphasizes the importance of subjective experience, arguing that subjective experience is not just a byproduct of how biological processes sense an objective reality and that the relationships that arise from intertwining subjective experiences are the basis of reality. That these subjective experiences are a result of the inherent consciousness of humans given by God “the supreme receiver”, who gathers these consciousnesses and responds to them in a process. However, Dr. Allan takes this sensibility a step further.

Interviewing Dr. Allan as his quaint home in Mechanicsburg, Pennsylvania, I was stirred by his contention that “God is directive, but not commander,” in that the concept of “God” was created by our subjective experiences to embody what a society deems as “right” offering subconscious guidance in the direction of “good” and away from “wrong.” That is not to say that Dr. Allan was insistent on minimizing those who are religious by any stretch of the imagination. In fact, he made sure to mention that he was good friends with a great many followers of the Western religions, many of whom were colleagues who he “misses dearly”, and that he has a great respect for the East Asian religions (which he mentioned embody the idea of God as a conceptual directive rather than personal God). In fact, he had a great reverence for one minister in particular, his father.

George Allan’s deep fascination with theology could be surmised to have come from his father, all though he made no literal claims of such in my interview. His father, born in 1890 to Scottish parents in New York, in order to be granted citizenship, would find work in his young adult life with religious organizations before entering the seminary. Deemed unfit to serve in WW1, he would instead help survivors and refugees at the docks entering the New York harbor. Through this line of work he would eventually find his way into the Presbyterian church and would be sent out to Sioux Falls, South Dakota to minister there. Eventually however, he would come into disagreement with the Presbyterian Church and join the Shriners and Congregational church respectively in Grand Forks North Dakota, where George Allan would be born.

Figure 4: Torn Binding of “Gospel Hymns Combined,” 1890.

In his capacities as a member of the Shriners as well as a minister in the Congregational Church, Dr. Allan’s father could have been, as Dr. Allan stated in the interview, involved in Sunday school sessions in some capacity. The scribbles on the back flyleaf suggest that this was at one point in the hands of a child, which is also

Figure 3: Scribbles on back cover and torn flyleaf of “Gospel Hymns Combined,” 1890.

evidenced by the tears on the back flyleaf (figure 3). It can be deduced then that the general wear and tear of the book could have been as a result of rough careless handling by a child or student, as the binding is torn and the front and back covers are degraded (figures 4, 5, and 6).

Since joining the DickinsonArchives, the book has not received any maintenance or repairs. The binding and boards are all original, and so are their damages. The paper is blotted and stained, yellow and brown as a result of many years of oxidation, and still torn. The fact that the book has not been given any special attention  indicates that this book is not an inherently valuable text.

Figure 5: Degradation of front cover of “Gospel Hymns Combined,” 1890.

Figure 6: Degradation of back cover of “Gospel Hymns Combined,” 1890.

That being said, the lack of conservation or restoration efforts on the book does not diminish its historical value, nor its subjective value. While the written text has had no impact on American culture in a broad sense, it could have played in the life of  George Allan’s father as well as the children who could have been handling the book during Sunday school. Dr. Allan mentioned that when his father passed away, his library was left to be divvied up between George Allan and his siblings. Among the books that he acquired, Dr. Allan donated a large portion of them to the Dickinson Archives, “Gospel Hymns Combined” presumably among them.

References

Waidner-Spahr Library. “George James Allan (1935-).” Dickinson College Archives & Special Collections. 2005 https://archives.dickinson.edu/people/george-james-allan-1935

George Allan. “Autobiographical Sketch.” Brill.com. 2012. https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://brill.com/previewpdf/book/edcoll/9789401210737/B9789401210737-s020.xml&ved=2ahUKEwjb2d7lnJGJAxXAq4kEHQodO6YQFnoECBUQAQ&usg=AOvVaw2RtSt7tsu97hWlsvf_RX7_

Researching the afterlife of Baedeker’s Great Britain introduced me to an entire subsection of the book collecting world I had previously been unaware of. My intention was to try and track what I am calling the Edition Evolution of the Great Britain Guide, as my copy is the sixth edition, and given the scope of my guidebook (the table of contents spans several pages, and as I mentioned in my previous post, it covers content from geographic locations, floor plans, and popular activities within its area), it is not unreasonable to assume that there would be at least some form of significant change between editions. Luckily for me, I was not disappointed.

In my research, I was able to find out some of the history behind the legacy of Karl Baedeker, spanning several generations of Baedeker, and their guidebooks. Karl was born in 1801, into a family of bookseller and publishers. He started the “Baedeker” business in 1827, which coincidentally was around the time when tourism was really taking off (pun unintended). Following the foundation of this business, his first guidebook was published in 1832, 74 years before the publication of my own guidebook. The first edition was titled Rheinreise von Mainz bis Koln, as the Baedeker family was German – the first English edition guidebook wouldn’t be printed until 1861. This edition was called Baedeker’s Rhine, the first edition of which is currently being sold for a little over $5,000. As his company built its reputation, Karl travelled everywhere he could to gather the information to construct his guidebooks, until his death in 1859. He is hailed as the inventor of the formal guidebook according to at least a few people, including a chapter in a book titled Giants of Tourism by D.M. Bruce, R.W. Butler, and R. Russell, where they refer to him as “the perceived ‘inventor’ of the formal guidebook,” and his guidebooks themselves as a “bible” for 19^th-century travelers. After Karl’s demise, his three sons continued his business, and it is still operating to this day.

As I gathered this information, I came across a wide variety of Baedeker’s guidebooks that are being sold online. First editions go for quite a bit of money, especially on rare book seller’s websites. But they are also being sold on places like Etsy, eBay, Amazon, and generally a good number of used bookselling platforms. Even when I narrowed my search down to just the Great Britain guide, there are still a lot of results. This surprised me – given the condition of my book, which implies that it was largely used a shelf piece or perhaps escapism on behalf of the owner, I had assumed that these books were pretty exclusively “collector” edition books. But the original intention of the books was for them to be actively used as convenient travel guides, so of course they were widely spread for tourism purposes. I also came across a lovely book called the Baedekeriana (2010) by Michael Wild, who was fascinated by the history of the Baedekers and wanted to compile it. It includes written accounts from people who worked with the Baedekers, and is an anthology of articles about past Baedeker guidebooks.

The Baedekeriana details the intense attention to detail and accuracy, as well as the impact that cultural differences and World War I and World War II had on the printing of guidebooks, especially for a German-based company. I am excited to spend more time understanding this history myself, but for now I turned my attention more avidly towards the specific evolution of the Great Britain guidebook. Initially, I was only able to find the editions that bookended my own – the 5^th edition, printed in 1901, and the 7^th printed in 1910. Given that my own book was printed in 1906, these dates only affirmed to me that the attention to detail referenced in my research on the Baedekers was accurate.

Fig. 1

My edition of the guidebook is described as having “22 maps, 58 plans, and a panorama” (Fig. 1). The 5^th has “18 maps, 39 plans, and a panorama”; the 7^th “28 maps, 65 plans, and a panorama.” The visible growth of content just in the frontmatter of each book is a testament to the attention to detail given to the content of each guidebook. Over just 9 years there is an increase of 10 maps in just one specific guidebook. How are other books growing? How did this specific guide change along with significant world events?

I was able to find an 1894 Baedeker’s Great Britain on eBay that showed some of the internal book – it has “16 maps, 30 plans, and a panorama.” Interestingly, the title page says it has 16 maps, but the list of Baedeker’s guide books behind the front cover lists the third edition of Great Britain as having 15 maps. I’m not sure why this discrepancy exists, and after taking a closer look at the other PDFs I found, the 5^th edition describes the Great Britain guide book in that same list to have “16 maps, 30 plans, and a panorama”, the 7^th doesn’t display that list at all, and mine is frustratingly obscured by a library identification card.

Something else I stumbled across while I was traipsing across the internet trying to find other editions of the Great Britain guide was the shocking discovery of just the Baedeker maps being sold. The very things that drew me in initially are apparently the main draw for a good number of interested parties. On Etsy some of them are being sold for $115, which is an unfortunate loss for those looking to find intact editions.

Works Referenced:

Wild, Michael. Baedekeriana: An Anthology. Red Scar Press, 2010.

Every book we read is a material item, and just like artifacts of the past, they have extensive histories often stretching back decades before we read their pages. An Historical Account of the Incorporated Society for the Propagation of the Gospel in Foreign Parts Containing their Foundation, Proceedings, and the Succeses of their Missionaries in the British Colonies, to the Year 1728 is no different. David Humphreys wrote the book to describe the royal-funded Society for the Propagation of the Gospel in Foreign Parts’ efforts to evangelize in the British North American colonies. Joseph Downing printed An Historical Account of the Incorporated Society (title shortened) in 1730 in his Bartholomew-Close, London, print shop. Downing was a close associate of the Society for the Propagation of the Gospel in Foreign Parts which provided him a steady income in the book printing industry in the first decades of the eighteenth century (Jefcoate, doi.org/10.1093/ref:odnb/53804). Outside of working for the Society, Downing was a prolific printer in his own right, even printing translated German texts. Downing died in 1734, but his work and connection to the Society in London continued under his widow’s supervision.

Downing’s printing of  An Historical Account of the Incorporated Society lived on past his death, with the work eventually travelling across the Atlantic Ocean to the Thirteen Colonies that David Humphreys investigated in when writing the work in 1730. Between the 1690s and his death in 1735, Philadelphia politician and merchant Isaac Norris collected an array of books, particularly about scientific works (Korey, 2). Given the fact that Norris Sr. died only five years after Downing printed An Historical Account of the Incorporated Society, the work likely came into the Dickinson College Library’s “Norris Collection” through his equally intellectually invested son Isaac Norris Jr. Born in 1701, Norris Jr. amassed a vast personal library by the 1760s, including prominent literary works such as John Milton’s Paradise Lost (Korey, 7). Norris accumulated scientific works as his father initiated, but also collected North American-specific works on the history of the Thirteen Colonies such as Humphrey’s book. In an indication of elite Enlightenment polyglotism in North America, Norris’ titles were primarily non-English books, written in French, German, Greek, Latin, Dutch, and Italian (Korey, 9). In his introduction for the 1975/1976 The Books of Isaac Norris (1701-1766) at Dickinson College, Edwin Wolf derides the few English works as “relatively unimportant theological works,” which undeniably includes the English theological work An Historical Account of the Incorporated Society. Most importantly, Norris Jr. collected contemporary works (those published in the mid-eighteenth century like An Historical Account of the Incorporated Society) in particular, ordering copies of freshly printed books. Norris held only a handful of pre-1700 works in English (Korey, 10). Norris read many of the 1,902 books (1,750 volumes) in his collection, etching notes in the introductory flyleaves (Korey, 13). No such notes exist in An Historical Account of the Incorporated Society, so it is difficult to assess if Norris read the 1730 work. However, once the book travelled to Dickinson College, it likely became a staple textbook of the institution.

After Norris’ death in 1766, the collection passed to his son-in-law John Dickinson (Korey, 8). Humphrey’s 1730 work was part of this, in the words of John Adams “very grand,” collection. In 1784 John Dickinson, the namesake of Dickinson College, donated the Norris Collection to Dickinson College (Korey, 21). The Norris Collection formed the core of the early Dickinson College Library, contributing to one of the most extensive educational libraries in the new nation, larger than those at more established institutions such as Yale. An Historical Account of the Incorporated Society was one of these 2,700 volumes that graced the normal shelves of the Dickinson College Library from 1784 to 1934 (Korey, 16, 19). However, by 1975/1976 An Historical Account of the Incorporated Society was in poor physical condition after centuries of use (Korey, 160). No front cover existed, an unusually prominent mark of damage compared with the reports of other Norris Collection works in generally average quality.

In the eighteenth and nineteenth centuries, Christian theology played a vital role in the pedagogy of Dickinson College. In fact, Benjamin Rush in part chartered Dickinson College to counter the intellectual supremacy of radical Philadelphia Presbyterians in Pennsylvania (Korey, 1). Given An Historical Account of the Incorporated Society’s placement on the regular Dickinson College Library shelves alongside more modern works for 150 years and the close connection between Dickinson College’s religious foundations and the book’s study of eighteenth-century religion, it is undeniable that Dickinson College students handled the work frequently even centuries after its publication.

The copy in the Norris Collection is not the only edition surviving today. According to WorldCat.org, Downing printed editions of An Historical Account of the Incorporated Society in 1720 and 1728 (search.worldcat.org/formats-editions/10536619?limit=50&offset=1). As late as 1967, an unknown printer re-printed a modern copy of the work in microfilm (search.worldcat.org/title/1127677992). Today, numerous copies of Downings’ 1730 printing abound in online stores. On the Bauman Rare Books website, the work has a sale price of $3,800 (baumanrarebooks.com/rare-books/humphreys-david/historical-account/91250.aspx). Even if the work no longer graces the shelves of the Dickinson College Library today, readers continue to purchase it across the globe.



Works Cited

“An historical account of the incorporated Society for the propagation of the gospel in foreign parts: containing their foundation, proceedings, and the success of their missionaries in the British colonies, to the year 1728.” World Cat. search.worldcat.org/formats-editions/10536619?limit=50&offset=1. Accessed 6 November 2024.

“An historical account of the incorporated Society for the propagation of the gospel in foreign parts: containing their foundation, proceedings, and the success of their missionaries in the British colonies, to the year 1728.” World Cat. search.worldcat.org/title/1127677992. Accessed 6 November 2024.

“Historical Account.” Bauman Rare Books. baumanrarebooks.com/rare-books/humphreys- david/historical-account/91250.aspx. Accessed 4 November 2024.

Jefcoate, Graham. “Downing, Joseph.” Oxford Dictionary of National Biography. 23 September 2004. doi.org/10.1093/ref:odnb/53804. Accessed 3 November 2024.

Korey, Marie Elena. The Books of Isaac Norris (1701-1766) at Dickinson College. Carlisle, PA, Dickinson College, 1975/1976.

The Token and Atlantic Souvenir: An Offering for Christmas and the New Years is a gift book featuring a collection of prose, poetry, and illustrations. Gift books, unlike regular books, catered primarily to women and young girls, emphasizing aesthetic appeal over content. These books featured elaborate bindings and luxurious materials, serving as decorative objects meant for display rather than reading. The Token and Atlantic Souvenir embodies the gift book tradition, featuring works from renowned writers like Henry Longfellow, Nathaniel Hawthorne, Harriet Beecher Stowe, and Samuel Griswold Goodrich. Though many writers contributed to the book, these four are the most well-known.  

Figure 1: Contents

Henry Longfellow, one of the most famous contributors, was a celebrated American poet, known for works such as “Paul Revere’s Ride,” The Song of Hiawatha, and Evangeline. Longfellow was a member of the Fireside Poets, a group cherished in New England for their focus on themes of mortality and domesticity. His poem “The Two Locks of Hair” is featured in The Token and Atlantic Souvenir.  

Figure 2: The Two Locks of Hair

Another prominent contributor, Harriet Beecher Stowe, is best known for her abolitionist novel Uncle Tom’s Cabin. Stowe was a prolific author and social justice advocate who wrote 30 books and many articles and letters. Her poem “The Yankee Girl” is included in The Token and Atlantic Souvenir. 

Nathaniel Hawthorne, known for his novels The Scarlet Letter and The House of the Seven Gables, also has several works featured in the gift book. He is best known for his works on history, morality, and religion. Hawthorne is one of the only writers in The Token… with multiple works featured. This shows his standing in 19th-century American literature; his works brought prestige to the gift book. His works “The Shaker Bridal,” “Night Sketches, Beneath an Umbrella,” and “Endicott and the Red Cross” are all included in the gift book.  

Samuel Griswold Goodrich, who edited the annual under his pseudonym Peter Parley, included his own essay “Sketches from a Student’s Window.” Due to his work as the editor of The Token…, many people accept him as the author of the book. His efforts played a pivotal role in shaping the content of the gift book, curating works that appealed to the cultural beliefs of the time.  

 Beyond the literary contributions, the craftsmanship of the book further elevates its status. The intricate binding, high-quality parchment, and detailed engravings all showcase the gift book’s intended purpose: to be a visual and tactile display piece. The Token… likely used parchment rather than vellum or sheepskin for its binding. Parchment is smooth, with a consistent texture on either side, while animal skin has a side with hair remnants. The uniformity of the parchment enhanced the book’s elegance. The engraved cloth cover added another layer of sophistication. The New York company Rawdon, Wright, Hatch, and Smillie engraved the intricate artwork on the covers. The paper quality also set gift books apart from regular publications; J.M. and L. Hollingsworth are the papermakers for the book. Benjamin Bradley, one of Boston’s most skilled bookbinders, ensured that the book’s construction matched its artistic design.  

Figure 3: Front Cover

Figure 4: Book Spine

Several contributors also played key roles in the production of The Token and Atlantic Souvenir, reflecting the collaborative nature of gift books. Samuel N. Dickinson, a prominent Boston printer, was a key contributor to the project. His work earned praise for its precision and clarity, and his work helped popularize the Scotch Roman typeface in the United States. David H. Williams, the primary publisher, oversaw the Boston editions of The Token and Atlantic Souvenir. To expand the book’s reach, Williams collaborated with other publishers across the United States, as well as in England and France. These publishers were included on the title page in the book, showing readers the prestige and reach that the book had; it indicated that it was not simply a local publication, but rather popular worldwide. Many publishers allowed the book to gain popularity worldwide.  

Figure 5: List of Publishers

The annual series, published from 1829 to 1842, featured new content every year, showcasing different authors and artistic styles. The variations between editions reflected changes in literary trends and advancements in printing technology. Gift books bridged the gap between art, literature, and commerce in the 19th-century. They were luxury items that reflected one’s social status, particularly that of the gift giver. The intricate designs and sophisticated content distinguished them from regular books. Gift books catered to an audience that valued aesthetic beauty and intellect, making them prized possessions in the 1800s. Through their exquisite design and curated content, gift books offered more than entertainment; they reflected the cultural and social beliefs of the time.  

Figure 6: Ornate Title Page

Works Consulted

“Details For: The Token and Atlantic Souvenir, : An Offering for Christmas and the New Year. › Library Company of Philadelphia Catalog.” Kohacatalog.com, 2024, librarycompany.kohacatalog.com/cgi-bin/koha/opac-detail.pl?biblionumber=277999.  

Hurley, Natasha. “Typee and the Making of Adult Innocence.” Studies in American Fiction, vol. 46, no. 1, Mar. 2019, pp. 31–54. EBSCOhost, research.ebsco.com/linkprocessor/plink?id=0b5e2281-7d17-3175-bf1d-5feb5f019117.  

McGettigan, Katie. “Henry Wadsworth Longfellow and the Transatlantic Materials of American Literature.” American Literature: A Journal of Literary History, Criticism, and Bibliography, vol. 89, no. 4, Dec. 2017, pp. 727–59. EBSCOhost, https://doi-org.dickinson.idm.oclc.org/10.1215/00029831-4257835.  

“Rare Gift Books.” Brandeis.edu, 2024, www.brandeis.edu/library/archives/essays/special-collections/rare-gift-book.html.  

“Reviews of the Token for 1842.” Merrycoz.org, 2024, www.merrycoz.org/voices/token/reviews/1842.xhtml.  

Silver, Rollo G. “Flash of the Comet: The Typographical Career of Samuel N. Dickinson.” Studies in Bibliography, vol. 31, 1978, pp. 68–89. JSTOR, http://www.jstor.org/stable/40371675  

URAKOVA, ALEXANDRA. “Hawthorne’s Gifts: Re-Reading ‘Alice Doane’s Appeal’ and ‘The Great Carbuncle’ in The Token.” The New England Quarterly, vol. 89, no. 4, 2016, pp. 587–613. JSTOR, https://www.jstor.org/stable/26405815