Kenneth Spencer Research Library

Linnnaeus (whose citation at the end of a binomial is simply “L.”) invented a practical system for the classification of plants and animals; more importantly, he established a uniform method of referring to species by two Latin words–a reform that led eventually to binomial nomenclature. Although his classification system was superseded, his principles of nomenclature continue to provide the rules for application of names to thousands of species of animals and plants newly identified every year. Volume 1, Animalia, of the tenth edition of the Systema Naturae (1758), is one of the most important books in the history of science, for it marks the beginning of the modern zoological nomenclature and systematics. In it, Linnaeus first consistently applied binomial nomenclature to the whole animal kingdom.

Image from Siren lacertina, 1766. Linneana B65 v.6:146, Special Collections

Unfortunately the great Linnaeus had little love for herps, thought them “disgusting,” and would have done well to adopt the classifcation system of John Ray. We quote, in rough translation, from the Systema: “Amphibia are loathsome because of their cool and colorless skin, cartilaginous skeleton, despicable appearance, evil eye, awful stench, harsh sound, filthy habitat, and deadly venom; and so God has not seen fit to create many of them.” Many of Linnaeus’s descriptions were based on those in books by Aldrovandus, Seba, Catesby, Jonstonus, and others. His use of the word “Amphibia” denoted not only all reptiles and amphibians, but also the cartilaginous fishes.

This work is the doctoral dissertation of one of Linnaeus’s students; it was the tradition of the day for a professor to write the thesis, but the student “respondent” had to defend it and pay for its publication.

Sally Haines
Rare Books Cataloger
Adapted from her Spencer Research Library exhibit and catalog, Slithy Toves: Illustrated Classic Herpetological Books at the University of Kansas in Pictures and Conservations

When it comes to creating an exhibition of illustrated books with a biological theme, a fabulous sea monster can be almost anything in the eye of the creator, and by power of suggestion, in the eye of the beholder. Some historians of biology have suggested that the basis-in-fact for the Scandinavian sea monster, Bishop Pontoppidan’s kraaken in this case, was a whale, so the image was used in a past show of whaling books in the Spencer Library. But Moby Dick‘s author, Herman Melville, as well as marine biologist Jacques-Yves Cousteau, thought it more likely that the real basis for the legends was the giant squid. For purposes of this post, it’s a sea serpent, but we intend to keep it in mind for our up-and-coming Squid Exhibit.

Image from Erik Pontoppidan (1698-1764). The natural history of Norway. London: 1755.
Call number: Ellis Aves E333, Special Collections.

The Danish original of this natural history was published in Copenhagen (1752-1754), and is of interest chiefly for its accounts of the myths connected with whales and other natural curiosities such as the fabeled kraaken.

Sally Haines
Rare Books Cataloger
Adapted from her Spencer Research Library exhibit and catalog, Slithy Toves: Illustrated Classic Herpetological Books at the University of Kansas in Pictures and Conservations

Over the centuries a number of techniques for creating graphic images have outlived their original technology, successfully migrating to new imaging technologies. I was recently reminded of this while planning Kenneth Spencer Research Library’s exhibition, “Ornithological Illustration in the Age of Darwin: The Making of John Gould’s Bird Books” (open September 11-November 15, 2014 on weekdays 9-5 and Saturdays 9-1, except October 11).

John Gould, an English ornithologist, published illustrated books about birds from 1830 until his death in 1881. The Library has recently digitized its holdings of Gould’s 47 large-format volumes, as well as nearly 2000 preliminary drawings, watercolor paintings, tracings, lithographic stones, and proofs.

When searching the new digital John Gould Ornithological Collection (accessible at the University of Kansas Libraries website at http://lib.ku.edu/gould), I happened to compare the published hand-colored print of the Horned Lark or Otocoris alpestris with the black printing image on lithographic stone. “What a great example of dead coloring!” I exclaimed.

Otocoris alpestris / Horned lark. Lithographic crayon on stone by
John Gould and Henry Constantine Richter.
Reference: ksrl_sc_gould_2387.tif.
Call number: Gould Drawing 2387. Click image to enlarge.

Otocoris alpestris / Horned lark. Lithograph and watercolor by
John Gould and Henry Constantine Richter.
Reference: ksrl_sc_gould_gb_1_3 (n77).
Birds of Great Britain, 1st edition, volume 3, plate 18.
Call number: Ellis Aves H131. Click image to enlarge.

So what is dead coloring? It involves underpainting shapes in a neutral hue, then finishing the oil painting with transparent colored glazes, and was often used by late-18th-century English painters. Early painters in watercolor, a medium gaining popularity in England during the late 18th century, employed a similar approach.

However, dead coloring also had a place in European printmaking. Mezzotint and aquatint, new methods of intaglio printmaking capable of the tonal gradations necessary for dead coloring, were invented in the mid-17th century and increased in use thereafter. John James Audubon’s hand-colored aquatints of American birds published in the early 19th century were outstanding examples.

During the early 19th century yet another new printing technology, lithography, spread from Germany, where it had been invented in 1798, across Europe to England. Working with a waxy crayon on a block of lithographic limestone with a fine-textured surface was similar to drawing on rough-textured paper. The lithographic crayon caught on the tips of the grained stone surface, creating a random pattern of irregular dots. Viewed with the naked eye, the tiny dots merge into shades of gray.

Lithographic drawing was much easier to learn than mezzotint and aquatint and was the obvious choice for illustrating John Gould’s ornithological books. Elizabeth Gould (his wife), an amateur artist, rapidly mastered crayon lithography under the tutelage of Edward Lear, a younger but more experienced artist employed by Gould. She illustrated Gould’s books until her death in 1841, after which he employed a succession of professional artists.

Melanopitta sordida. Watercolor and lithographic crayon drawing by
William Hart. Reference: ksrl_sc_gould_1264.tif.
Call number: Gould Drawing 1264. Click image to enlarge.

Melanopitta sordida. Colored lithographic proof by
William Hart. Reference: ksrl_sc_gould_1265.tif.
Call number: Gould Drawing 1265. Click image to enlarge.

Artist William Hart executed his drawing of Melanopitta sordida in lithographic crayon and watercolor, thus rehearsing his final drawing on lithographic stone for printing and hand coloring. Colored by hand using watercolors, Gould’s lithographic prints are successful examples of dead coloring. By the time of Gould’s death in 1881, color printing was taking over the reproduction of graphic images, bringing the hand-colored lithographic revival of dead coloring to a close.

Karen S. Cook
Special Collections Librarian

Soon, Spencer Library will unveil its latest exhibition, on the work of John Gould and his atelier. Conservation Services staff support exhibition design by helping the curators present the items in their best light. For bound volumes this work often involves the construction of a supportive cradle.

Many library conservation labs construct cradles and supports from Vivak, a transparent, cold-bendable, PETG plastic. Unlike the more traditional Plexiglas, Vivak can be cut on our board shear (no scoring required).

Cutting a piece of Vivak on the board shear.

Once the sheet is cut, the locations for bending are transferred from a paper template to the Vivak sheet. Vivak comes with a protective plastic film that is left in place until the final installation to prevent scratching of the soft plastic.

Transferring marks from a paper template to the Vivak.

The plastic can be bent by hand, but we use a sheet metal bender to make the process easier. Plexiglas requires heat to bend, so we are happy to avoid that step and the accompanying fumes that result. Making cradles with Vivak is much quicker and less toxic.

Bending the plastic using a sheet metal bender

A finished Vivak cradle.

Vivak is not as sturdy as the Plexiglas we used to use, but if stored properly cradles can be reused for multiple exhibits.

Whitney Baker
Head, Conservation Services

The late marsupialist John A.W. Kirsch was interviewed by a local (Peruvian) newspaper while on a collecting trip in South America back at the end of the 1960s. He described the kinds of animals he was looking for and was shocked to see the headline a few days later: KANGAROOS ON MACHU PICCHU.

While it’s true that the mammal group we call marsupials includes the kangaroos, wallabies, wombats, koalas, and bandicoots that are usually associated with Australia, and that the New World once did boast a rich and diverse marsupial fauna, most of the New World forms are now extinct and, sad to say, there are no kangaroos on Machu Picchu.

Opossums (and yes, there are several pictured above): Juan Eusebio Nieremberg (1595-1658).  Historia naturae. Antverpiae: ex Officina Plantiniana Balthasaris Moreti, 1635. Call Number: Summerfield E1105. Click image to enlarge (and reveal the well-camouflaged opossum young.)

The marsupial heyday began to end circa three million years ago when a land bridge over the Isthmus of Panama provided for northern migration of animals including the ancestors of our familiar opossum, who dates back to around 35 million years ago and looks today pretty much the same as he did then. During the same period, some of the northern placental mammals migrated south over the same land-bridge. Thus, for example, it appears that the placental sabre-toothed tiger from the North began to compete with the marsupial sabre-toothed tiger and soon put him on the road to extinction. But the marsupials are survivors, nevertheless, and the American opossum, the only one of the family in North America, is just one of seventy some opossum species to survive; the ‘possum family is restricted to the New World, and except for Didelphis virginiana, whose range extends from southern Canada into Central America, the rest of the family is restricted to Central and South America.

Earlier travel accounts and herbals had described the plants and animals of the New World, but Juan Eusebio Nieremberg’s account was the first comprehensive natural history of the area, dealing primarily with Mexico and the West Indies. This illustration of the Virginia or American opossum is the earliest printed portrait of the earliest discovered (by Europeans, at least) marsupial anywhere.

Sally Haines
Rare Books Cataloger

Adapted from her Kenneth Spencer Research Library exhibit, The Haunted Forest: New World Plants & Animals (1992).