Author Archives: Lindsey Johnson

From Curiosity to Codex: A Voyage Through Natural History Illustration

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In collaboration with the Virginia Museum of Natural History, Boatwright Memorial Library’s Science Librarian, Heather Ervin, and Rare Books and Special Collections have put together a new exhibit case on the second floor of the library themed around visual science communication. Visual science communication is used in order to teach scientific ideas in a visual manner. This often means that scientists and artists must work together in order to create an educational piece of scientific visualization. Common representations of visual science communication are textbook depictions of nature, photographs, and videos.

            Scientific visualization has changed greatly over the years. Even 30,000 years ago, human beings made cave paintings of animals that they came into contact with. Although art historians and scientists alike are unsure what the intent was behind these scientific artworks from the Paleolithic period, we are able to conclude that by rendering human forms, plant life, and animals in a scientific manner with pinpoint accuracy became important to the teaching and learning of not only art, but science as well. These two areas of study revolved around each other, and it would be difficult in many regards to separate the two.

            With the invention of the printing press, scientists were able to share and spread knowledge of animals and plants much more easily, and with the ability to print drawings of the animals and plants discussed in the texts, anyone who possessed the book could now have an image of the specimen in their minds. This trend of visual science communication continues to this day.

            The exhibit in collaboration with the VMNH honors this culture of visualizing science by incorporating preserved specimens from their collection, including a snapping turtle, box turtle, viper, cowfish, fence lizard, spotted salamander, rattlesnake rattles, and seahorses. In addition to the physical specimens provided by the museum, the Rare Books Room has provided several books with drawings of similar specimens in text. 

            As our world becomes increasingly digital, it is still important to preserve physical objects that communicate visual science. The digital world does, however, continue this tradition of visual science communication in an accessible manner, which not only helps those who are trying to learn about a particular science, but also preserves the trend of visualizing science for generations to come.

We appreciate the opportunity to work with the Virginia Museum of Natural History, with special thanks to Marshall and Arianna.

Books displayed: 

The animal kingdom, arranged according to its organization… by P. A. Latreille and Georges Cuvier. QL45 .C944 v.2

Brehm’s illustriertes Thierleben fur Volk und Schule; bearbeitet von Fredrick Schodler by Alfred Edmund Brehm and Friedrich Schoedler. QL 605.4 .S22 1897 v.3

Animate creation; popular edition of “Our living world”… by J. G. Wood and Joseph B. Holder. QL 50 .W882 1885

Popular zoology by Joel Dorman Steele and J. W. P. Jenks. QL 48 .S8 1887

The Riverside natural history… by J. S. Kingsley and Friedrich von Hellwald. QL 45 .K56 1888 v.3

For further reading, check out the libguide made by Heather Ervin at  https://libguides.richmond.edu/bio_display_SP24, and consider reading Visual Science Communication: Learn About It. (n.d.). Guild of Natural Science Illustrators at https://www.gnsi.org/visual-scicomm. 

The Book on the Richmond Theater Fire of 1811

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On December 26th, 1811, several hundred Richmonders gathered together at the Richmond Theater to enjoy a night of drama, but the drama that unfolded was not a part of the play’s script. As the oil lamp chandelier was raised into the rafters for the show to begin, it caught the pine wood ceiling, the thick, heavy curtains, and the painted set pieces on fire. The building was consumed by flames, and those inside were desperate to get out. The individuals sitting in the galley and the pit of the building, where the seats were the cheapest, were the first to escape. The entrances and exits were close to these seats, unlike those in the boxes on the second floor. The box seats were expensive, and many of the most influential people in Richmond at the time were seated here. The box seats were reached by long, narrow passageways. Unfortunately, these seats were difficult to escape from in an emergency situation. The fire became so severe that people on the second floor were jumping from windows in order to survive the fire at any cost. The chaos of the evening made it incredibly difficult to figure out who was still inside the theater and how to get them out. Once the embers subsided, a panicked inquiry regarding the causes and casualties of the fire began in Richmond. 

The burning of the theatre in Richmond, Virginia, on the night of the 26th. December. , . [No Date Recorded on Shelflist Card] Photograph. https://www.loc.gov/item/2003689321/

The Galvin Rare Books Room here at Boatwright has recently acquired a short book that is a collection of news articles, letters, and other miscellaneous documents related to the Richmond Theater fire. This book was published only two weeks after the fire had occurred in order to update the American public (particularly those living in Richmond) about the tragedy. The fire was the most deadly urban accident in the history of the United States at the time, with the death count totaling 72 individuals. Many notable figures within the political and economic atmosphere of the influential city of Richmond passed away or were greatly affected by the incident. The new governor of Virginia, George William Smith, who succeeded James Monroe, was tragically killed in the fire alongside “the President of the bank” and former U. S. Senator Abraham B. Venable. The book lists the names of those who died according to the Richmond neighborhood they lived in, and although many important male figures within the community passed, the majority of those lives lost were women. 

The overall consensus (to current scholars and 19th century Richmonders alike) is that women were particularly susceptible to getting stuck in the building due to their heavy, frilled garments. The book recalls, however, many instances of those who attempted to save women and children who were caught in the fire. Two such gentlemen, Gilbert Hunt, a freedman who was not in attendance that evening, but witnessed the fire from a nearby shop, and Dr. James McCaw, a notable figure within Richmond’s medical community, aided women jumping from the second story by helping them jump onto a mattress on the ground floor. Hunt and McCaw saved over a dozen lives that night, and they are regarded after the fact as heroes of such a tragic event. 

To commemorate the heroic work of those who saved lives and to honor those whose lives were lost, the Richmond community built a church upon the site of the theater, which was completed in 1814. This building, originally an Episcopal church, is still standing on East Broad Street as a historic landmark of the city. The church houses a crypt underground for those who passed in the fire. On the front steps of the church, there is a monument in the shape of a funerary urn. This monument is inscribed with the names of the 72 individuals who died. The white men who passed are listed on the front, facing Broad Street, and the white women and children are on the remaining three sides, while any enslaved persons are listed at the bottom of the urn. 

The severity of the Richmond Theater fire was compared within the book to several other theater or fire related disasters throughout history. This comparison was made at the very end of the book, perhaps to remind the audience that these disasters, although horrific and tragic, were not isolated. This rare and unique book describing tragedy that came upon the city of Richmond that December night ends in such a way to remind the readers that Richmonders were by no means alone in their grief and that the lives of those who perished in the fire would be remembered. 

For further reading on the Richmond Theater Fire, please consider The Richmond Theater Fire: Early America’s First Great Disaster by Meredith Henne Baker. Additionally, Historic Richmond’s website offers more information on Monumental Church. Rachel Beanland has recently produced a historical fiction retelling of the event and its consequences in The House Is on Fire. 

Freaky Folklore: Witchy Origins

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For centuries, folktales have been used to guide (or spook) children into being good little boys and girls. There are countless stories of ghouls, goblins, trolls, and witches eating, stealing, or maiming children throughout many different cultures. The subject matter is the most simple and classic trope one could have throughout literature: good versus evil. The children often represent a pure and curious innocence, and the monstrous creatures within the stories represent the corruption of souls. Throughout these tales, the children often leave the comfort of their homes, knowing that they were not supposed to do so or at least being aware of the dangers that lurk on the outskirts of their community. After they have left, they are hunted by or stumble upon these creatures. The children have to find a clever way out of becoming victims to the evil ways of the creature they are up against, as many children have before them. These stories are prevalent in communities across the globe to read to children as they grow up, hoping to imbue them with concepts of goodness, obedience, and hope while warning them of the nature of evil.

The stories of the Brothers Grimm are likely the most recognizable of these folktales, but there are varieties of stories from Japanese, Norse, Russian, and many more cultures that fall into this category. When selecting books for the children’s folklore aspect of this exhibit, it became clear that the genre was incredibly varied. Stories weren’t just about one type of creature, and often, the creatures changed from region to region. Regardless of which creature was most prevalent within the culture, they all represented negative characteristics. Greed, laziness, hatred of others, self-isolation, trickery, and violence are by and large the most repeated traits from the stories we have in our collection. These vices may seem simple, and perhaps they are. We are all warned when we are children to be good, to be kind. The simplification of evil was deliberate. Some stories (like the Brothers Grimm) have more intense elements that we today might not deem suitable for children, but the origins of these stories are much more sinister than what the stories portray to children.

The theme of guiding others away from moral depravity was not just limited to children’s fiction literature and folktales, but indeed have origins in the treatises on the very serious crimes of witchcraft. Dark magic is hinted at within children’s literature, but the intense hold that the fear of witchcraft and devil-worship had on not only Americans, but communities across the oceans as well, was far from written about in these children’s texts. During the 17th and 18th centuries, it was believed that those who practiced witchcraft had powers to transform into other creatures, or that they transformed as a result of their sinister devotion to the devil, a consequence of evil within their hearts. The infamous witch trials of these centuries were at the forefront of the minds of the author’s who would end up writing stories of witches for children in later centuries. Even after the popularity of witch trials waned, the stories of the things that go bump in the night continued to be told. The Galvin Rare Books Room has in its collection a 1928 copy of the 1489 translation of the Malleus Maleficarum, which serves as a great example of the origins of witchcraft literature and stories of devil-worship under patronage of the church (in fact, written by a man of the cloth himself). This text, as well as Letters on Demonology and Witchcraft (from 1841) and The Discoverie of Witchcraft (from 1930), all describe women as being the primary users of dark magic. These witches were to blame for the moral depravity in the community, and the church would show people how to avoid such sinful behavior. 

Church authority dominated the role of moral guide, but as the centuries passed, so did the authority of religion. Who, then, would guide the children into doing rightly? It may be argued that this role passed to the authors of children’s literature. Parents could read these simplified stories to their children, simultaneously entertaining them and reminding them of what to do and what not to do. This transition of power might provoke a few questions to think about. What authority has guided you to do rightly? Is it religion? Family? Perhaps, it is much less simple. Perhaps, we are guided by and away from our greatest fears, whether it be creatures that lurk within the dark, misty woods or the very darkness that lurks within our own souls. 

For further reading on the subject of folklore and fairy tale origins, consider reading Werewolves, Witches, and Wandering Spirits: Traditional Belief and Folklore in Early Modern Europe by Kathryn A. Edwards.

Edwards, Kathryn A., ed. Werewolves, Witches, and Wandering Spirits: Traditional Belief and Folklore in Early Modern Europe. Vol. 62. Penn State University Press, 2002. https://doi.org/10.5325/j.ctv1c9hp4x.

For more information on how folklore affects children and their educational development in the early 20th century, read Gudren Thomsen-Thorne’s “The Educational Value of Fairy-Stories and Myths.” 

Thorne-Thomsen, Gudrun. “The Educational Value of Fairy-Stories and Myths.” The Elementary School Teacher 4, no. 3 (1903): 161–67. http://www.jstor.org/stable/993304.

For more information on moral lessons within dark fairy tales and folklore, consider reading “Peasants Tell Tales: The Meaning of Mother Goose” in The Great Cat Massacre and Other Episodes in French Cultural History by Robert Darnton published in 1984. 


List of Items Displayed:

  • The Goblin Spider PZ8.1 .G63 1899
  • Fairy Tales from Grimm / edited and with an introduction by Hamilton W. Mabie. Pictures and decorations by Ethel Franklin Betts. PZ8.G882 Fl
  • Fairy Tales of the Grimm Brothers / Decorated by Aldren Watson for the Peter Pamper press. PZ8.G882 F
  • Fifteen Norse Tales / by Sir George Dasent ; selected by E. E. Reynolds ; illustrated by Doris Pailthorpe. PZ8 .A89 Fi 1931
  • Russian Fairy Tales: illustrations by A. Alexeieff. PZ8 .A26 Ru
  • The Princess and the Goblin / by George Macdonald ; illustrated by Jessie Willcox Smith. PZ8 .M1754 P
  • Malleus Maleficarum / translated with an introduction, bibliography and notes by the Rev. Montague Summers. BF1569 .A2 I5 1928
  • The Discoverie of Witchcraft / by Reginald Scot; with an introduction by the Rev. Montague Summers. BF1565 .S4 1930
  • Letters on Demonology and Witchcraft / Addressed to J. G. Lockhart, Esq., by Sir Walter Scott, Bart. BF1531 .S5 1841
  • Pierio Valeriano’s Hieroglyphica PJ1093 .V3 1594

The Books Behind ‘Barbenheimer’

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This summer gave way to the cultural phenomenon that was ‘Barbenheimer,’ which can be best described as the seemingly bizarre comparison between two feature films, Barbie and Oppenheimer. Both of these films were released on the same day in July, and many expected them to be the two best films of 2023. On the surface, Barbie and Oppenheimer could not be more different from one another, Barbie being a comedic film about children’s toys finding a way to enter the real world and Oppenheimer being a drama about the man behind the creation of the atomic bomb. When creating this exhibit, we wanted to find common ground between these two films through textual evidence within our collection here in the University of Richmond’s Galvin Rare Books Room and show that perhaps within the American experience, ‘Barbenheimer’ is not such a bizarre concept. 

When selecting books for the Barbie portion of the exhibit, we aimed to have a blend of Mattel produced items as well as philosophical discussions on how Barbie has affected society and where exactly the toy originated from. Our 1964 edition of Barbie’s Easy as Pie Cookbook published by Mattel is without a doubt a gem of this exhibit. In addition to the cookbook and a Barbie doll herself, we’ve featured two more modern books that go further into detail on not only who created Barbie, in Barbie and Ruth, but also how the concept of Barbie as an ideal woman with the power to pursue anything she dreamed might have consequences on our society, in The Good, the Bad, and the Barbie. These three books offer a glimpse into the philosophy behind Barbie directed by Greta Gerwig and starring Margot Robbie as Barbie and Ryan Gosling as Ken. The film is very introspective despite being a comedy, and it shows how Mattel has constructed a seemingly perfect image of Barbie that might unintentionally strike questions of living a purposeful life and dealing with the consequences of having human flaws. Mattel’s Barbie’s Easy as Pie Cookbook falls in line with this image of easy-going perfection, and our other two book selections begin to peel back the curtain in many of the same ways that Gerwig’s film does.

The Galvin Rare Books room did have quite a few illuminating works when we began to put together the Oppenheimer portion of the exhibit. The film, directed by Christopher Nolan and starring Cillian Murphy, highlights the life of Dr. Robert J. Oppenheimer and his work on the Manhattan Project, which produced the uranium and plutonium atomic bombs. It also showcases the aftermath of the project and how Dr. Oppenheimer went on to push against the production of the hydrogen bombs, expressing concern for the morality of killing hundreds of thousands of people once again. We wanted to not only feature Dr. Oppenheimer’s work, but to showcase the lasting effects of the Manhattan Project and American perspectives on nuclear warfare. The two books that are particularly fascinating are Nobody Wants A Nuclear War and Hearings Regarding Communist Infiltration of Radiation Laboratory and Atomic Bomb Project at UC Berkley. Nobody Wants A Nuclear War is a children’s picture book written in 1986 describing how frightened children were that because of the constant threats between the United States and the USSR, another atomic bomb would be dropped. Instead of the war being on foreign ground, the children were scared it would be where they lived. This book is particularly striking in relation to the mental consequences that nuclear warfare had on generations to come, even forty years after the atomic bombs were dropped on Nagasaki and Hiroshima, and it shows how the effects of war become more real when they threaten you instead of your enemy. The second work is the transcript of hearings in which a government appointed investigation interviews many important figures who worked on the atomic bomb projects throughout World War II, including General Groves who spearheaded the military portion of the project as well as Dr. Frank Oppenheimer, Dr. Robert J. Oppenheimer’s brother. The interviews were conducted in order to investigate who leaked top-secret information to the USSR or to communist parties within the United States. These two rare items in our collection highlight the long-lasting effects of nuclear warfare in the mind of Americans, and they express a feeling of mistrust and doubt over the decisions that the government had made in the past.

The Barbenheimer exhibit aims to foster thorough questioning of the American experience in many of the same ways that Barbie and Oppenheimer aim to do as well. As you peruse the exhibit, consider whether or not these films and books of the cultural phenomenon of ‘Barbenheimer’ seem all that different. In both of our Barbie and Oppenheimer themes, it is clear that an existential doubt emerges: what is the purpose of consumption and creation? What consequences do my actions and my life bring? If I aim to bring good to the world, will good come after me? 

List of items displayed:

  • Barbie’s Easy as Pie Cookbook PZ10.L39 Ba 1964
  • The Good, the Bad, and the Barbie NK4894.3.B37 S76 2010
  • Barbie and Ruth NK4894.2.H324 G47 2009
  • Robert Oppenheimer QC16 .O62 M66 2013
  • Hearings Regarding Shipment of Atomic Material to the Soviet Union during World War II E743.5 .U4 1950 
  • Nobody Wants a Nuclear War PZ7.V67 No 1986 p. “Sometimes i’m scared”
  • Three Poems for Now PS3523.I648 T4 1972 
  • Hearings Regarding Communist Infiltration of Radiation Laboratory and Atomic Bomb Project at UC Berkeley E743.5 .U64 1949 
  • Three Lectures on Atomic Physics QC173 .S53 1926