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Waxing Nostalgic: McGill@Expo67

Fri, 11/24/2017 - 10:40

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By Jennifer Garland, Associate Librarian, Rare Books and Special Collections

Expo brochures on loan from the McGill community. Credit: Jennifer Garland

McGill@Expo67 is an exhibition in the McGill Library that celebrates Expo 67’s 50th anniversary and explores the role of Expo 67 in teaching and research and its continued relevance for Canada’s next generation of university students. A collaboration between McGill’s Peter Guo-hua Fu School of Architecture and the Library, the exhibition showcases the University’s rich collections of photographs, souvenirs, drawings, and passports, and includes materials belonging to McGill community members especially donated for the exhibit.

 

Expo passports on loan from the McGill community. Credit: Jennifer Garland

In the summer of 2017, the Library put out a call for donations – the temporary loan of Expo memorabilia – and we were amazed at the number of responses we received! Members of the McGill community shared their precious souvenirs , photographs, and their memories. We heard from people who were children in 1967, who carried children and youth passports and explored the Expo islands unsupervised. Many objects in the exhibition came from people who worked at Expo, in administration, in construction, as hosts and hostesses, and as architects. Another group of donors are those who became collectors after the fact, who were born after 1967 or began collecting when they moved to Montreal.

On his loan of a traditional Russian folk instrument, the balalaika, purchased at the USSR Pavilion at Expo 67, Ron Williams (B.Arch. 1964) writes: “’Expo summer’ was virtually the first time that anybody in North America had the slightest real experience with the Russian civilisation. Since the Cold War was still at its height, people in the West never got to see, up close, Soviet products, people, artifacts, specialties of all kinds, and to develop an appreciation, however limited, of the many cultures that they represented. Expo 67 provided a unique opportunity to overcome this barrier”. – Ron Williams, B.Arch. 1964

Behind the scenes: Planning the exhibition layout in the CAC. Credit: Jennifer Garland

A large number of items in the exhibition come from the Library’s John Bland Canadian Architecture Collection (CAC), which featured the work of McGill School of Architecture graduates and faculty. Many McGill professors and McGill-trained architects left their mark on Expo, including Ron Williams; Norbert Schoenauer and Joseph Baker who worked on aspects of Expo’s amusement park, La Ronde; John Schreiber and Radoslav Zuk who designed Children’s World, a child-sized amusement park within La Ronde for children ages 4-9; graduate Harry Stilman designed the Pavilion of Judaism. Moshe Safdie’s design for Habitat 67 was based on his McGill architecture thesis. The archive of Swedish-born designer Sigrun Bülow-Hübe includes her designs for one of the Habitat units.

Behind the scenes: installation of the floor vinyl. The Expo 67 emblem was designed by Julien Hébert, a Montreal artist and industrial designer. Credit: Jennifer Garland

McGill@Expo67 is curated by: Annmarie Adams, Professor, School of Architecture & Chair, Department of Social Studies of Medicine; Jennifer Garland, Associate Librarian, McGill Library; David Theodore, Assistant Professor, School of Architecture. The exhibition continues until December 21st in the lobby of the McLennan Library Building and extends to an interactive touch screen, where viewers may explore large architectural drawings, the Meredith Dixon Expo slide collection, and undergraduate and graduate work produced on the subject of Expo.

 

 

 

 

I put this little license plate on my bike, sure that it announced to everyone thatI had been to Expo. I had been to Montreal. – Kathleen Kearns, Editor, McGill-Queen’s University Press

 

Moment de nostalgie : McGill@Expo67

Par Jennifer Garland, bibliothécaire associée, Livres rares et collections spécialisées

Brochures prêtés par des membres de la communauté de McGill. Photo : Jennifer Garland

McGill@Expo67, une exposition de la bibliothèque de McGill, célèbre le 50e anniversaire d’Expo 67 et explore son rôle dans l’enseignement et la recherche de même que sa pertinence actuelle pour la prochaine génération d’étudiants universitaires canadiens. Fruit d’une collaboration entre l’École d’architecture Peter Guo-hua Fu et la bibliothèque de McGill, l’exposition présente les riches collections de photographies, souvenirs, dessins et passeports de l’Université et comprend du matériel qui appartient à des membres de la communauté mcgilloise prêté spécialement pour l’occasion.

Passeports prêtés par des membres de la communauté de McGill. Photo : Jennifer Garland

 

À l’été 2017, la bibliothèque a lancé un appel pour solliciter des dons – le prêt temporaire d’objets souvenirs d’Expo 67 – et les nombreuses réponses reçues nous ont stupéfaits! Des membres de la communauté de McGill ont partagé leurs photographies et articles précieux de même que leurs souvenirs de l’époque. Parmi les personnes qui ont répondu à l’appel, certaines vivaient leur enfance en 1967 qui détenaient un passeport d’enfant ou de jeune, et d’autres avaient exploré les îles d’Expo 67 sans surveillance. Des personnes qui avaient travaillé à l’Expo, dans les services administratifs ou la construction, à titre d’hôte, d’hôtesse ou d’architecte, nous ont prêté une grande partie des objets exposés. D’autres donateurs étaient des collectionneurs qui ont développé un intérêt après l’événement, des personnes nées après 1967 ou qui ont commencé à faire collection d’objets de l’Expo après leur déménagement à Montréal.

À propos du prêt d’un instrument de musique populaire russe, une balalaïka achetée au pavillon de la Russie à Expo 67, Ron Williams (B. Arch., 1964) écrit : « À l’Expo, les Nord-Américains faisaient connaissance pour la première fois avec la civilisation russe. La Guerre froide était à son plus fort et les Occidentaux n’avaient jamais vu des Russes de près, ni de produits, d’artefacts et de spécialités d’origine russe. Ils n’avaient pas encore découvert les nombreuses cultures s’y rattachant, mais ils en ont eu un petit aperçu. Expo 67 leur a donné l’occasion de briser ces barrières. » – Ron Williams, B. Arch., 1964

Dans les coulisses : planification de l’agencement général de l’exposition. Photo : Jennifer Garland

De nombreux articles de l’exposition proviennent de la Collection d’architecture canadienne John Bland (CAC) de la bibliothèque, et mettent en valeur les travaux de diplômés et professeurs de l’École d’architecture de McGill. Beaucoup de professeurs de McGill et d’architectes formés à McGill ont marqué Expo 67, y compris Ron Williams; Norbert Schoenauer et Joseph Baker ont travaillé sur des aspects du parc d’attractions de l’Expo, La Ronde; John Schreiber et Radoslav Zuk ont conçu le Monde des petits, un parc d’attractions de La Ronde réservé aux enfants de 4 à 9 ans; Harry Stilman, diplômé du premier cycle, a conçu le pavillon du judaïsme. Moshe Safdie s’est inspiré de sa thèse d’architecture à McGill pour concevoir Habitat 67. Les archives de Sigrun Bülow-Hübe, conceptrice d’origine suédoise, comprennent le design de l’une des unités d’Habitat 67.

Dans les coulisses : installation du plancher en vinyle. L’emblème d’Expo 67 a été conçu par Julien Hébert, un artiste et concepteur industriel de Montréal. Photo : Jennifer Garland

L’exposition McGill@Expo67 est dirigée par : Annmarie Adams, professeure, École d’architecture et présidente, département des études sociales en médecine; Jennifer Garland, bibliothécaire associée, bibliothèque de McGill; David Theodore, professeur adjoint, École d’architecture. L’exposition se poursuit jusqu’au 21 décembre dans le hall de l’édifice de la bibliothèque McLennan et propose aussi un écran tactile interactif qui permet aux visiteurs d’explorer des dessins architecturaux de grande taille, la collection de diapositives de l’Expo de Meredith Dixon, ainsi que des travaux d’étudiants du premier cycle et des cycles supérieurs portant sur l’Expo.

 

 

 

 

Je plaçais cette petite plaque d’immatriculation sur ma bicyclette, pour que tout le monde sache que j’avais visité l’Expo. J’étais allée à Montréal. – Kathleen Kearns, rédactrice, McGill-Queen’s University Press 

Raising the curtain on archives outreach, preservation & access

Fri, 11/24/2017 - 10:40

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Introduction and interview conducted by Jean-Marc Tremblay, Archivist & Records Management Administrator, McGill University Archives

McGill University Archives (MUA) had a very eventful summer. Firstly, the administrative offices of the archives moved from the sixth floor of the McLennan Library Building to join Rare Books and Special Collections on the fourth floor. All University Archives and Rare Books staff are now located within quick access of our shared reading room on the fourth floor to better serve our readers and other users.

Secondly, MUA’s website began a long overdue process of migrating to the McGill Web Management System. Our users will find the new platform aesthetically pleasing and user-friendly. Visit our new website at http://www.mcgill.ca/library/branches/mua

Most importantly, in late August, MUA welcomed a new Director & University Archivist, Yves Lapointe. Yves brings a rich history of experience to McGill, most notably from the Bibliothèque et Archives nationales du Québec, Concordia University, HEC, UQAM and the Université de Montréal. His career spans both the realm of archives and records management. We spoke with Yves for this installment of the ROAAr newsletter to shine a light on his role and how MUA can benefit from change to grow and succeed.

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Director & University Archivist, Yves Lapointe. Credit: Lauren Goldman

What made you want to study archives and records management and what training do you need to do so?

I was working towards a BA in History doing research under the direction of Dr. Jean-Pierre Wallot, who was also National Archivist at the time. My research was on Montreal blacksmiths – how they worked, their tools, belongings, equipment, day-to-day work. I had to use inventories developed by notaries in the 1850s to get the information I needed. Those inventories, located in the archives revealed so much. As things evolved, I became more attracted to this newly-discovered field. I then decided to take a certificate in archival studies, followed by a two-year master’s degree in information science.

What is your role as McGill University Archivist?

From my perspective, there are two aspects to consider in my role as University Archivist. The Records Management functions are to establish the appropriate framework to ensure the University manages its information assets through their life cycle according to requirements and best practices. As University Archivist, my role is to make sure that the University preserves its documentary heritage as well as all the necessary and required records of our institution for future generations. As archivist, my role is also to make available and accessible the archival material for research purposes, exhibits, student learning etc.

What are some of the hot topics in archives and records management right now?

Outreach. We have the knowledge, experience and tools – we’re here to support the community. We need to be part of ongoing projects related to the management of information and to be key players in how information systems are developed or reviewed.

Other hot topics are preservation and access. While paper has been around for such a long time, we have to start managing electronic records. Electronic records have been accumulating for decades and we have yet to manage them in a comprehensive, simple way. Two of the biggest challenges are digital preservation and permanent retention.

A page from Humphrey’s draft of the Declaration of Human Rights. McGill University Archives, 1988-0102.01.1.T2

What items in the MUA collection do you find particularly fascinating?

Since my arrival, I have been involved in several activities featuring some of our historical archives. Among them, the Paul-André Crépeau, Madeleine Parent, Douglas Hall,  Arvind Sharma and John Peters Humphreys Fonds. Human rights are very much on our mind as Canadians, and each of these fonds contributes in fundamental ways to our thinking. It is essential that we, as Canadians, return to these pivotal holdings to keep fresh in mind what we can learn from them.

What are some of your favourite historical photos?

I have been particularly struck by photos in the Madeleine Parent Fonds, which document her efforts to fight for women’s rights and labour relations between the 1950s and 1980s. Such activism was one of the topics addressed by Veronica Strong-Boag when she visited McGill recently to talk about suffrage in Canada.

What sorts of things will you be bringing out for McGill’s 200th?

Celebrating this milestone anniversary is a perfect opportunity for MUA to further develop partnerships and collaborate with the community. We are excited to work with the Principal’s Office and contribute to projects that will be visible to the whole university community. Our role is to support and guide units, Faculties and individual members of the McGill community in commemorating this anniversary. I don’t want to give too much away. Suffice it to say that we have plans of the campus in it’s very early stages where there are only six buildings, stables, a cricket ground, a croquet lawn and a band stand! Our holdings will be featured and used in many different projects; and we at ROAAr are also planning for this occasion. More to come to be sure!

What are some of your collections that overlap with treasures in the other ROAAr units?

The Normand Bethune papers come first to mind, but there are also complementarities in holdings related to World War 1, or Canadian architecture. Now that cross-country skiing season is soon to be upon us, let me say that RBSC has book materials from Jackrabbit Johannsen, and we have his papers or Fonds.

Canadian Officers’ Training Corps, McGill Contingent. McGill University Archives, PL0064041

What is your vision of the future for the archives at McGill?

The MUA has great potential and we are being more proactive by building relationships and partnerships at various levels. A lot has happened in that short amount of time. It is very stimulating working with wonderful dedicated people, and I see a great deal of potential in various forms, collaborations, and projects. There are great, exciting challenges to come. One will be to increase visibility and awareness around records management. Another will be to take a bigger step into managing electronic records and moving away from paper management, especially now that 99% of documents are born digital. As for Archives, I would like to see us in projects where our material is being used to enhance interaction between past and present: think enhanced virtual reality, where users can interact with the past. I am convinced there can be ways of exploring our past with new technologies. Watch for archival material in collaborative and interactive chronology; and look out for it on social media and other platforms.

 

Lever du Rideau sur la diffusion, la préservation et l’accessibilité des archives

Introduction et entrevue par Jean-Marc Tremblay, archiviste et administrateur en gestion des documents

L’été a été très chargé aux Archives de l’Université McGill (MUA). Premièrement, les bureaux administratifs des archives ont quitté le sixième étage de l’édifice de la bibliothèque McLennan pour emménager au quatrième étage, dans les locaux des Livres rares et collections spécialisées. Tous les membres du personnel des archives et des livres rares occupent désormais des bureaux situés à une distance accessible de notre salle de lecture commune du quatrième étage, pour mieux desservir nos lecteurs et usagers.

Deuxièmement, prévu depuis longtemps, le processus de migration du site Web de MUA vers le système de gestion Web de McGill a commencé. Nos usagers trouveront la nouvelle plateforme esthétique et conviviale. Vous pouvez visiter notre nouveau site Web à l’adresse http://www.mcgill.ca/library/branches/mua

Événement encore plus important, MUA accueillait à la fin du mois d’août son nouveau directeur et archiviste universitaire, Yves Lapointe. Yves arrive à McGill avec une riche expérience qu’il a acquise surtout à Bibliothèque et Archives nationales du Québec, à l’Université Concordia, à HEC Montréal, à l’UQAM et à l’Université de Montréal. Il a fait carrière autant dans le domaine des archives que dans la gestion des documents. Pour cette rubrique de l’infolettre ROAAr, nous demandons à Yves de nous éclairer sur son rôle et de nous expliquer en quoi le changement peut favoriser la croissance et le succès de MUA.

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Directeur et archiviste universitaire, Yves Lapointe. Photo: Lauren Goldman

Qu’est-ce qui vous a motivé à étudier dans le domaine des archives et de la gestion des documents et quelles études faut-il faire?

Je faisais un baccalauréat en histoire et de la recherche sous la direction de M. Jean-Pierre Wallot, Ph. D., également archiviste national à l’époque. Ma recherche portait sur les forgerons de Montréal – leur façon de travailler, leurs outils, leurs biens, leur équipement et leur travail quotidien. J’ai dû utiliser des inventaires dressés par des notaires des années 1850 pour obtenir l’information dont j’avais besoin. J’ai puisé beaucoup d’information dans ces inventaires des archives. Au fil du temps, j’ai décidé de faire un certificat en études archivistiques, suivi d’une maîtrise de deux ans en science de l’information.

Quel est votre rôle en tant qu’archiviste à l’Université McGill?

Je vois deux aspects à mon rôle d’archiviste universitaire. Les fonctions de gestion des documents consistent à établir le cadre de travail approprié pour s’assurer que l’Université gère ses fonds de renseignements du début à la fin de leur cycle de vie, conformément aux exigences et meilleures pratiques. En tant qu’archiviste universitaire, mon rôle consiste à m’assurer que l’Université conserve son patrimoine documentaire de même que les documents de l’établissement dont les générations futures auront besoin. En tant qu’archiviste, mon rôle demande de rendre le matériel d’archives disponible et accessible aux fins de la recherche, des expositions, de l’apprentissage des étudiants, etc.

Quels sont actuellement les sujets brûlants dans le domaine des archives et de la gestion des documents?

La diffusion. Nous avons les connaissances, l’expérience et les outils nécessaires – nous sommes ici pour appuyer la collectivité. Nous devons participer à des projets continus liés à la gestion de l’information, et être des joueurs clés au fur et à mesure de l’élaboration ou de l’actualisation des systèmes d’information.

La préservation et l’accès sont aussi des sujets brûlants. Les imprimés sont là depuis longtemps, mais nous devons commencer à gérer les documents électroniques. Ceux-ci s’accumulent depuis des décennies et nous devons les gérer de façon globale et simple. La préservation numérique et la conservation permanente représentent deux des plus grands défis.

A page from Humphrey’s draft of the Declaration of Human Rights. McGill University Archives, 1988-0102.01.1.T2

Quelles pièces de la collection de MUA trouvez-vous particulièrement fascinantes?

Depuis mon arrivée, j’ai participé à de nombreuses activités touchant nos archives historiques. Parmi elles, les Fonds Paul-André Crépeau, Madeleine Parent, Douglas Hall, Arvind Sharma et John Peters Humphreys. En tant que Canadiens, la question des droits de la personne nous préoccupe beaucoup et chacun de ces Fonds contribue de manière fondamentale à notre réflexion. Il est essentiel que nous, les Canadiens, revenions à ces ressources cruciales afin de nous rappeler ce qu’elles peuvent nous apprendre.

Quelles sont vos photos historiques préférées?

Des photos du Fonds Madeleine Parent ont particulièrement retenu mon attention, car elles documentent les efforts de cette activiste pour défendre les droits des femmes et les relations de travail dans les années 1950 à 1980. Cette forme d’activisme faisait partie des sujets abordés par Veronica Strong-Boag à l’occasion de sa visite récente à McGill pour parler de la question du suffrage au Canada.

Qu’est-ce que vous préparez pour le 200e anniversaire de McGill?

La célébration de cet anniversaire important est l’occasion idéale pour MUA de continuer à développer ses partenariats et de collaborer avec la communauté. Nous sommes ravis de travailler avec le bureau du principal et de contribuer à des projets qui seront visibles pour l’ensemble de la communauté universitaire. Notre rôle consiste à soutenir et guider les unités, les facultés et les membres individuels de la communauté mcgilloise pour souligner cet anniversaire. Je ne veux pas trop en dire à ce sujet. Je dirai simplement que nous avons des plans du campus à ses débuts, et qu’il n’y a que six immeubles, des étables, un terrain de criquet, un terrain de croquet et un kiosque à musique! Nos ressources seront mises à l’honneur et utilisées dans des projets, et ROAAr a également des plans pour l’occasion. Nous aurons certainement d’autres nouvelles bientôt.

Quelles collections chevauchent les trésors d’autres unités ROAAr?

Je pense toute de suite aux documents Norman Bethune, mais il y a également des complémentarités dans les ressources liées à la Première Guerre mondiale ou celles de l’architecture canadienne. La saison du ski de fond étant à nos portes, je peux vous dire que RBSC a des ouvrages de Jackrabbit Johannsen, et que nous avons les documents ou les Fonds de cet athlète.

Corps-école d’officiers canadiens, contingent de McGill, Archives de l’Université McGill, PL0064041

Comment voyez-vous l’avenir des archives à McGill?

MUA offre un grand potentiel et nous nous montrons plus proactifs en établissant des relations et des partenariats à plusieurs niveaux. Il s’est passé beaucoup de choses en peu de temps. Il est très stimulant de travailler avec des gens merveilleusement dévoués, et je vois un énorme potentiel dans une variété de collaborations, de projets et de formes. De grands défis passionnants nous attendent. Nous devons nous assurer de rendre la gestion des documents plus visible et de mieux la faire connaître. Nous devons également faire de plus grands pas dans la gestion des documents électroniques et nous éloigner de la gestion des imprimés, surtout que 99 % des documents sont maintenant produits en format numérique. Quant aux Archives, j’aimerais que nous nous engagions dans des projets où notre matériel sert à améliorer l’interaction entre le passé et le présent : par exemple, penser « réalité virtuelle augmentée », pour permettre aux usagers d’interagir avec le passé. Je suis convaincu que les nouvelles technologies peuvent nous aider à explorer notre passé. Soyez à l’affût de matériel d’archives dans une chronologie collaborative et interactive et recherchez-le dans les médias sociaux et d’autres plateformes.

Art & medicine collide for two Larose-Osler Artists-in-Residence

Fri, 11/24/2017 - 10:39

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By Mary Yearl, Head Librarian, Osler Library of the History of Medicine

Observation & drawing exercise led by Lucy Lyons. Credit: Mary Yearl

Despite a tight schedule for the installation of her exhibit, “Impossible pathologies: re-fragmenting the archive,” Lucy Lyons carved out time to lead two workshops: an evening one for medical students and an afternoon seminar with Mary Hunter and Annmarie Adams’s ARTH 675 class. In both cases, Lyons discussed the work she did during her residency and chose specimens from the Maude Abbott Medical Museum for an observation and drawing exercise.

During her introduction to the workshop, Lyons discussed the importance of keeping an open mind, of not having preformed ideas about what one is going to see in a given space: the point is to take the time to observe, to draw (preferably with pen), and to use a focused scrutiny of one’s surroundings to open opportunities to see things hitherto unnoticed. This is a point Lyons emphasized, albeit implicitly, when advising participants to draw empty space – such as that between the fingers on a hand – for better effect.

Regarding the centrality of drawing, she made her point with a striking example: Imagine trying to describe a circle to someone who had never seen that shape. You couldn’t do it. She continued by noting that anyone can understand after seeing someone draw a circle – whether in the air with a finger, or on paper. For medical students, the message was clear: the act of drawing is critical to recall and for noticing detail. Following up on the circle example, she argued that a picture is more effective than plain text, and thus those in medicine should practice drawing as part of their process for taking patient medical histories.

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Loren Williams’ workshop brought us into a different area of the visual arts: photography, as explored through film and cyanotype. She opened with a description of some of the projects she has undertaken, and the link in each case between the art and the place in which it was done. Cyanotypes of birds from Redpath ultimately became an exhibition at that museum; photos from a pinhole camera made using a book and installed in the old library on Sherbrooke, were later displayed in that building. All of this provided an intriguing invitation to Williams’ upcoming exhibit at the Osler, “Materia medica.”

For the workshop, she had given every student four pieces of cyanotype paper and a map, each from a different time and place within Montreal. Students were asked to choose an area on the map to visit and to collect items from that area with which to make cyanotypes, which the students then brought to the workshop. The idea was to interact with Montreal’s medical history through maps (some of which were epidemiological) and imagery, though just how one might facilitate that interaction was left to personal interpretation.

Pumpkin pinhole camera made by Loran Williams. Credit: Mary Yearl

The finale of Williams’ workshop was a seasonal delight: a group photo taken with a pumpkin camera. Yes, a pumpkin hollowed out and made into a pinhole camera.

If one can distill the emphasis of each artist to one point, Lucy Lyons’ would be that it is imperative that one take the time to stop, to reflect, to do the physical exercise of writing (drawing). For Loren Williams, an enduring point was that the beauty of a project can be as much in the process as in the final product. Both exemplified the importance to the McGill community of initiatives such as the Michele Larose – Osler Library Artist-in-Residence Programme because the unique approaches of visiting artists and scholars open up new opportunities for the interpretation of rare collections.

Photo taken with pumpkin pinhole camera. Credit: Loren Williams

Une rencontre entre les arts et la médecine pour deux artistes résidentes Larose-Osler

Par Mary Yearl, Bibliothécaire en chef, Bibliothèque Osler d’histoire de la médecine

Exercice d’observation et de dessin dirigé par Lucy Lyons. Photo : Mary Yearl

Malgré l’échéancier très serré du montage de son exposition « Impossible pathologies: re-fragmenting the archive », Lucy Lyons a réussi à se ménager du temps pour donner deux ateliers : l’un en soirée pour les étudiants en médecine et l’autre en après-midi pour les étudiants du cours ARTH 675 de Mary Hunter et Annmarie Adams. Dans les deux cas, elle a parlé des travaux effectués durant sa résidence et choisi des spécimens du musée médical Maude Abbott pour proposer un exercice d’observation et de dessin.

Dans son introduction à l’atelier, Dr Lyons a fait valoir l’importance de garder l’esprit ouvert et d’éviter les idées préconçues sur ce qu’on voit dans un espace donné : il s’agit de prendre le temps d’observer, de dessiner (de préférence au stylo) et de procéder à l’examen détaillé de ce qui nous entoure pour être en mesure de voir ce qui est jusque-là passé inaperçu. L’artiste a insisté sur ce point, quoique de manière implicite, en demandant aux participants de dessiner un espace vide – comme l’espace entre les doigts de la main – pour obtenir de meilleurs résultats.

Quant au rôle central du dessin, elle a illustré son point de vue par un exemple frappant : imaginez que vous tentez de décrire un cercle à quelqu’un qui n’a encore jamais vu cette forme. Vous ne pouvez pas le faire. Elle a ensuite fait remarquer que n’importe qui peut saisir ce qu’est un cercle – après avoir vu quelqu’un en tracer un dans les airs du bout du doigt ou sur papier. Pour les étudiants en médecine, le message était clair : le dessin joue un rôle crucial pour observer des détails et s’en souvenir. Pour mieux illustrer son exemple du cercle, elle a expliqué que l’image est plus efficace que du simple texte, et que les étudiants en médecine devraient donc se servir du dessin pour prendre note des antécédents médicaux d’un patient.

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L’atelier de Loren Williams présentait une facette différente des arts visuels : la photographie, explorée sous l’angle de la pellicule et de la cyanotypie. Mme Williams a commencé par décrire des projets qu’elle a entrepris et dans chaque cas, le lien entre l’art et le lieu de son exécution. Les cyanotypies d’oiseaux de Redpath ont fini par faire l’objet d’une exposition dans ce musée; des photos prises par une caméra sténopé dans un livre, installée à l’ancienne bibliothèque de la rue Sherbrooke, ont par la suite été affichées dans l’édifice. Tout cela a servi d’entrée en matière à une invitation intrigante à l’exposition « Materia medica » de l’artiste qui aura lieu prochainement à la bibliothèque Osler.

Pour l’atelier, l’artiste a remis à chaque étudiant des bouts de papier de cyanotypie et une carte, chacune représentant un moment et un lieu différents à Montréal. Les étudiants avaient comme instruction de choisir un point à visiter sur la carte et d’y recueillir des éléments pour en faire des cyanotypies, puis d’apporter celles-ci à l’atelier. L’exercice visait à interagir avec l’histoire médicale de Montréal au moyen de cartes (dont certaines étaient épidémiologiques) et de l’imagerie; toutefois, chacun était libre d’y aller de son interprétation personnelle quant au mode d’interaction.

Caméra sténopé fabriqué à partir d’une citrouille fabriquée par Loren Williams. Photo : Mary Yearl

L’atelier de Mme Williams s’est terminé par un moment agréable à saveur automnale : une photo de groupe prise par un appareil à sténopé fabriqué à partir d’une citrouille. Eh oui, dans une citrouille évidée!

Si on pouvait résumer en un seul point la démarche de chaque artiste, Lucy Lyons dirait qu’il est impératif de prendre le temps de s’arrêter, de réfléchir et de faire l’exercice physique d’écrire (de dessiner). Quant à Loren Williams, elle ferait valoir que la beauté d’un projet tient autant au processus qu’au produit final. Les deux artistes ont fait ressortir pour la communauté de McGill l’importance d’initiatives comme le programme des artistes résidents Michèle Larose – Bibliothèque Osler parce que les approches uniques adoptées par des artistes et chercheurs invités ouvrent de nouvelles perspectives à l’interprétation des collections rares.

Photo prise avec une caméra sténopé fabriqué à partir d’une citrouille. Photo : Loren Williams

 

 

 

 

Out of the dark, into the light: McGill to get visible storage gallery

Fri, 11/24/2017 - 10:39

La version française suit

By Vanessa Di Francesco, Assistant Curator, McGill Visual Arts Collection

In many of the world’s largest museums, only a very small fraction of collected objects are put on view, in publicly accessible spaces, at any given time. So, where is the rest of it? Most museums and professionally managed collections have storage facilities varying in size and functionality. Many objects in museum collections are too fragile or valuable to be on permanent gallery display plus there is simply not enough space in most museums to show absolutely everything. Countless objects live in a storage facility that has been tailor-made for their preservation, picked from the rack for special occasions only.

McGill’s Visual Arts Collection reverses this modus operandi to some degree: as a collection spread out across two campuses and nearly 80 buildings, most of the nearly 3,000 artworks and objects in our care are on long-term view, with only a small fraction housed in a controlled storage facility in the McLennan Library Building. Our display philosophy drives our collection practices: we rarely take in artworks that are not suited to sustained, unmediated display in variable conditions.

Visible Storage Study Center at the Luce Center for American Art, Brooklyn Museum. Image courtesy of Brooklyn Museum website.

Still, not everything can be on display all the time. Moreover, in rare instances, we do collect art that, because of its format or fragility, cannot circulate outside of a controlled environment or, because of its subject matter, is difficult to place without accompanying interpretation. The safekeeping and preservation of these objects is, as with any collection, a primary mandate. But just as significant, is our collection’s role as a cultural resource, and as a tool for teaching and learning. In this role, visibility, not storage, is key. So, how do we show what we otherwise cannot show?

Figure 2: Visible Storage Gallery at the Artbank of Australia. Image courtesy of Artbank website.

 

Digitization projects that bring stored artworks and artifacts to millions of virtual visitors is one way museums and cultural institutions negotiate their contradicting mandates. But as many museum professionals and art historians maintain, there is nothing quite like seeing the “real thing.” In recent years, the increasingly popular trend of “visible storage” has helped museums all over the world open their closets, if you will, to the public. Top institutions like the Met, the AGO, and the Brooklyn Museum have built out innovative spaces that serve the dual purposes of storage and display, where visitors can see thousands of otherwise packed away objects in galleries that essentially mimic storage facility conditions, but are open and accessible. Different institutions do it differently, and the display of framed art is especially varied. In some cases, paintings are hung and stacked on storage screens, sometimes behind vitrines (Fig. 1). In others, available wall space is packed with paintings and prints in a staggered display that maximizes wall space, much in the style of gallery walls in Victorian homes or in early modern Wunderkammers (“wonder-rooms”) (Fig. 2).

Figure 3: A detail of the hallway leading to the Rare Books, Special Collections, and Archives Reading Room in the McLennan Library, 4th Floor –the future home of a Visible Storage Gallery.

Inspired by these and other open storage spaces, the McGill Visual Arts Collection is currently planning a gallery on the fourth floor of the McLennan Library Building, in the hallway to the Reading Room of Rare Books, Special Collections, and Archives (Fig. 3). Here, many artworks currently in storage will be on long-term public view in a controlled space. Paintings otherwise out of view will be displayed with accompanying interpretative material: a display cabinet complete with drawers will offer the opportunity to show unframed works on paper which cannot otherwise circulate, and some of the sculptures we have been unable to place across campus will finally find a home.

Figure 4: Visual Arts Collection intern, Tara-Allen Flanagan, looking over preliminary plans for the painting display in the Visible Storage Gallery.

Adjacent to the Reading Room, the open storage will be well-frequented, introducing students and researchers to a curated sample of the Collection, and alerting them to its great potential for research. For a collection spread out so far and wide, the open storage space also provides the opportunity to put works in conversation with one another, and highlight the great variety of the University’s holdings in visual arts in a single, cohesive space (Fig. 4).

The Visible Storage Gallery is scheduled for the upcoming academic year (2017-18). Keep an eye out on our website and in Library news for a launch date.

 

De l’ombre à la lumière : McGill aura sa galerie de réserves visitables

Par Vanessa Di Francesco, conservatrice adjointe

La plupart du temps, dans nombre de grands musées du monde, seule une petite fraction des pièces de collection est visible dans des espaces accessibles au public. Alors, où se trouve le reste? La plupart des musées et collections gérées professionnellement ont des installations d’entreposage dont la taille et la fonctionnalité varient. De nombreuses pièces de collection des musées sont trop fragiles ou d’une trop grande valeur pour être présentées dans une aire d’exposition permanente. Qui plus est, la plupart des musées manquent tout simplement de place pour exposer absolument tout. D’innombrables objets d’art restent à l’abri dans des installations d’entreposage conçues pour leur préservation et n’en sortent que pour des occasions spéciales.

Pour sa Collection d’arts visuels, McGill va un peu à l’encontre de ce modus operandi : la collection est répartie sur deux campus et dans près de 80 immeubles, et les 3000 œuvres d’art et objets dont l’Université assure la conservation sont pour la plupart exposés à long terme; seule une petite partie de la collection est protégée dans des installations contrôlées de l’édifice de la bibliothèque McLennan. Notre philosophie en matière de conservation dicte nos pratiques concernant les acquisitions : nous acceptons rarement des œuvres d’art qui ne se prêtent pas à une exposition durable dans des conditions variables, et qui exigent des mesures particulières.

Fig. 1 : Centre d’étude des réserves visitables, au Luce Center for American Art, musée de Brooklyn. Illustration reproduite du site web du musée de Brooklyn.

Nous ne pouvons certainement pas tout exposer en même temps. En plus, dans de rares cas, nous collectionnons des œuvres qu’il faut placer dans un environnement contrôlé en raison de leur format ou de leur fragilité, ou qu’il est difficile d’exposer sans matériel d’interprétation, en raison de leur nature. Comme pour toute collection, la mission première est la protection et la préservation de ces pièces. Toutefois, notre collection joue un rôle tout aussi important en tant que ressource culturelle et outil d’enseignement et d’apprentissage. Pour ce rôle, l’élément important est la visibilité, plutôt que le mode d’entreposage. Alors, comment exposer ce qui ne peut pas être exposé?

Fig. 2 : Galerie de réserves visitables à Artbank of Australia. Illustration reproduite du site web Artbank.

 

Pour remplir leur mission contradictoire, les musées et les établissements culturels ont recours à des moyens comme les projets de numérisation pour donner la possibilité à des millions de visiteurs virtuels de voir des œuvres d’art et des artéfacts. Toutefois, comme le clament de nombreux professionnels des musées et historiens de l’art, il n’y a rien de mieux qu’une vraie visite. Ces dernières années, la popularité croissante des « réserves visitables » a pour ainsi dire permis à des musées du monde d’ouvrir leurs placards au public. Des établissements de premier ordre comme le Met, AGO, et le musée de Brooklyn ont aménagé des espaces novateurs qui répondent aux deux objectifs, l’entreposage et l’exposition. Les visiteurs peuvent y voir des milliers d’objets autrement inaccessibles, exposés dans des galeries qui imitent essentiellement les conditions d’entreposage, mais ouvertes et accessibles au public. Divers établissements procèdent autrement, et les systèmes d’exposition des œuvres d’art encadrées, en particulier, sont très variés. Dans certains cas, on suspend et superpose les tableaux sur un système de stockage à glissières, parfois derrière une vitrine (Fig. 1). Dans d’autres cas, les tableaux et gravures sont disposés en quinconce sur l’espace mural de façon à maximiser celui‑ci, dans le style des galeries murales des demeures victoriennes ou dans les Wunderkammers (« wonder-rooms ») du début de l’époque moderne (Fig. 2).

Fig. 3 : Couloir qui mène à la salle de lecture des Livres rares, collections spécialisées et archives à la pavillon McLennan de la bibliothèque, 4e étage – futur emplacement de la Galerie des réserves visitables.

À la Collection d’arts visuels de McGill, les divers types de réserves accessibles ont inspiré le projet d’aménagement d’une galerie au quatrième étage de l’édifice McLennan dans le couloir qui mène à la salle de lecture des livres rares, collections spécialisées et archives (Fig. 3). On y exposera de nombreuses œuvres d’art actuellement gardées dans un espace contrôlé, et le public y aura accès à long terme. La galerie exposera des tableaux normalement inaccessibles accompagnés de matériel d’interprétation : un présentoir avec tiroirs montrera des œuvres sur papier non encadrées, autrement inaccessibles, et certaines sculptures encore jamais exposées sur le campus trouveront finalement leur place.

Fig. 4 : Stagiaire à la Collection d’arts visuels, Tara-Allen Flanagan examine les plans provisoires pour l’exposition des tableaux d’art dans la Galerie des réserves visitables.

Adjacente à la salle de lecture, la réserve accessible sera très achalandée et présentera aux étudiants et chercheurs un avant-goût des pièces conservées de la Collection tout en les sensibilisant à l’énorme potentiel pour la recherche. La collection étant dispersée un peu partout, l’espace de la réserve accessible offre également la possibilité de créer un rapport interactif entre les œuvres, et met en évidence la grande variété des ressources de l’Université dans le domaine des arts visuels, dans un seul et même espace cohérent (Fig. 4).

La Galerie des réserves visitables est prévue pour la prochaine année universitaire (2017-2018). Consultez le site Web et Library news pour connaître la date du lancement.

Bear Pits, Nuns and Tortière: Julian Armstrong and Nathalie Cooke in Conversation about Montreal Foodways and Fisticuffs

Wed, 10/25/2017 - 14:33
By Alyssa Hamilton

The event “Foodways and fisticuffs: the larger than life personalities who shaped Quebec cuisine” was an evening of storytelling. Speakers Nathalie Cooke and Julian Armstrong led an intimate, informative, and above all entertaining talk in the first of this year’s series of presentations organized by the Friends of the McGill Library on October 4, with an encore presentation on October 11.

The lecture explored the cultural significance of food, sitting at the intersection of history, geography, and function. It also highlighted the passionate defense of regional food varieties, whether tortière, pea soup, or maple pie, as local heritage.

Julian Armstrong and Nathalie Cooke told tales of larger than life Quebec characters, such as Joe Beef, known both for his generosity and for the bears he kept in the pit of his house.

The 19th century Montreal tavern owner welcomed customers of all backgrounds, and kept couches for those who overindulged or who didn’t have a bed for the night. He also helped deescalate the 1878 conflict on the Lachine canal by breaking bread with both strikers and soldiers.

Amy the cow figured in another story, as the modern, quite photogenic descendent of a herd shipped from France to Quebec 1608. Known for their hardiness in the Canadian winter and the cheese made from their milk, La vache canadienne is now making a comeback after its displacement by British Holsteins.

The speakers discussed the heritage of many of today’s foods, recipes, producers and culinary ground breakers, many of which the audience members could recognize as a community. The convent on Sherbrooke Street, for instance, had a cooking school run by nuns, where many Montreal women learned to cook early in their married lives.

These included Julian, known for her cookbooks and 50 years spent writing about food for the Montreal Gazette and the Montreal Star. Nathalie is also prominent as both a McGill Professor and the Associate Dean of the Library’s ROAAr unit (Rare and Special Collections, Osler, Art and Archives).

Fittingly, the event was held in the historic Colgate Room of McGill’s Rare Books and Special Collections Library. The venue was newly opened following renovation, thanks to a generous donation by the Joan and Clifford Hatch Family Foundation. Further renovation is planned for the McLennan/Redpath Library Complex. McGill’s Canada150/Montreal 375 hosted a wine and cheese to end the evening.

Celebrating science! Science Literacy Week @ McGill, September 18 to 24

Tue, 09/12/2017 - 15:01

Science Literacy Week is a Canada-wide, week-long blitz of science-based activities from coast-to-coast. 2017 will mark McGill’s third year running of participation with events on both campuses geared towards the McGill community and general public of all ages. This year’s partners on campus are the Redpath MuseumMaude Abbott Medical MuseumLet’s Talk Science McGillHackMcGill, and Graphos. Off-campus partners are Concordia University LibraryClub Framboise, and Vitrine Technologie Éducation. Activities include an augmented reality workshop, visits to the Schulich Library beehives, an introduction to Open Science, a lecture on the Maude Abbott Museum and nightly screenings of science-related documentaries (popcorn included!). Check out this year’s schedule!

We caught up with April Colosimo, the librarian that set in motion McGill’s involvement in Science Literacy Week.

Library Matters (LM): How did some of these partnerships come about?

April Colosimo (AC): The original partnership with Science Literacy Week founder, Jesse Hildebrand, began a few years ago when I heard from a colleague about activities that were being held at the University of Toronto. Jesse was delighted to include us in the event, which is now Canada-wide with hundreds of activities scheduled this year from coast to coast. Each year, the Library forms new partnerships as we continue to be surprised by the generosity of campus and community groups and their passion for science outreach.

LM: What impact have you noticed from Science Literacy Week over the past couple of years?

AC: From that first year that we participated in Science Literacy Week we have been building memories. We offered some McGill students their first opportunity to interact with different technologies, including virtual reality goggles, 3D printers and microcontrollers. I had the pleasure of touring a group of homeschoolers around the branch libraries and watched as they marveled at a phonograph, laserdisc and cassette tapes at the Marvin Duchow Music Library. I have also been among the community members moving from station to station and eagerly learning about honeybees from members of the Santropol Roulant Beekeeping Collective. This year we expect to continue to celebrate the wonders of science as we introduce a new augmented reality demonstration, and offer learn to code and Raspberry Pi workshops to name a few.

LM: Some of this year’s events touch on very current issues such as open science and science reporting. How does the selection process come about each year?

AC: We have a task force that (re)forms each year, made up of interested individuals from both inside and outside of the Library. It is absolutely on a volunteer basis, with everyone giving just as much energy as they can during this busy time of year. We all bring ideas to the table and feed off of each other’s enthusiasm. My co-leader, Rebecca Nicholson, and I follow-up on leads and meet with community members. The result is a calendar of events that we all want to attend. We hope that others are as excited about it as we are!

LM: We’re certainly excited! Thanks April and all the best for another successful year.

Follow along on social media with the hashtag #scilit17.

Celebrate Homecoming 2017 at the Library

Fri, 09/08/2017 - 14:06

McGill Library’s ROAAr units have planned an eclectic mix of tours, hands-on events, and lectures for McGill Homecoming (Thursday October 12 – Saturday, October 14). Explore Montreal and McGill architecture then and now, learn how to transcribe weather information from the McGill Observatory, take a walking tour of public art on the McGill campus and so much more. There is something for everyone to discover! Please note that all in-person activities listed below in chronological order are FREE and some require registration. Have fun – the Library welcomes you!

Open House at the Osler Library of the History of Medicine

Description: Sir William Osler, MDCM 1872, is remembered as one of the greatest physicians of all time. He was also a bibliomaniac during a golden age for book collecting. Discover some of the standout pieces of the one-of-a-kind collection he left to McGill-and more!

Date and Time: Friday, October 13, 2017 1:30 PM to 2:30 PM

Location: Osler Library of the History of Medicine – McIntyre Medical Bldg., 3rd floor, 3655 Prom. Sir William Osler, Montreal, Quebec, H3G 0B1

Register: https://www.alumni.mcgill.ca/aoc/events-travel/EventDetails.php?id=MzI3OTY= 

Rescuing Montreal’s Weather History for Climate Research 

Description: Join us in rescuing the weather history of Montreal and McGill. Over 3 million handwritten weather observations taken at the McGill Observatory give us clues about the daily life of Montrealers in the past and provide historical evidence of climate change. We need your help to make these handwritten pages ready for scientific research. At this workshop, you will discover what meteorology looked like in the mid-late 1800s (with props and photos of the period), and you will be introduced to citizen science by transcribing a page at http://citsci.geog.mcgill.ca/.

To register, call 514-398-2955 or email lori.podolsky@mcgill.ca

Date and Time: Saturday, October 14, 2017 2:00 PM to 4:00 PM

Location: McLennan Library Building, e-classroom

Public Art at McGill: Guided Tour

Description: Join us for a one hour tour of the public art on McGill’s downtown campus. See works by renowned Canadian and international artists from our permanent collection, as well as monumental sculptures on temporary display at McGill as part of the University’s collaboration with the Montreal Museum of Fine Arts for La Balade pour la Paix. Come rain or shine!

Date and Time: Saturday, October 14 1:00 PM to 2:00 PM and Saturday, October 14, 2017 3:00 PM to 4:00 PM

Location: Starting Point: Arts Building, Lobby

Register: https://www.alumni.mcgill.ca/aoc/events-travel/EventDetails.php?id=MzI4MTU=

Homecoming: Rare Books & Special Collections guided tour (bilingual)

Description: Join us for a one-hour, bilingual guided tour of Rare Books & Special Collections. Don’t miss this amazing opportunity to discover the unique treasures held by McGill!

Date & Time: Saturday, October 14 from 1:00-1:45PM

Location: Meet at information desk 1st floor, McLennan-Redpath Library Complex, Montreal, Quebec, H3A 0C9, CANADA

Register: https://www.alumni.mcgill.ca/aoc/events-travel/EventDetails.php?id=MzMwOTM=

Homecoming: Building McGill through a Library Lense with David Covo and Nancy Dunton

Description: Anniversaries may be artificial – whether it’s Canada’s 150th or Montreal’s 375th – but they do make people reflect on their collective past. This special talk looks at the architecture of the McGill campus and explores when the buildings were designed and why. Who were the architects and what were their links to the university and to the city as a whole? How did a building fit into the larger pattern of evolution of the university? The presentation by professors David Covo and Nancy Dunton will show how the university’s own collections and archives help to answer some of these questions.

  • David Covo is an Associate Professor and past Director (1996-2007) of the School of Architecture at McGill University, where he has taught since 1977. He is currently teaching design, drawing and sketching, and professional practice, and he has maintained a private consulting practice since 1976. He is a Member of the Order of Architects of Quebec and a Fellow of the Royal Architectural Institute of Canada, and is a past President of the Canadian Architectural Certification Board.
  • Nancy Dunton has been actively worked on architectural projects and organized public programs about architecture since 1981. Formerly Executive Director of Heritage Montreal, a not-for-profit organization dedicated to the protection of Montreal’s built heritage, she was Head of University and Professional Programs at the Canadian Centre for Architecture from 1997 to 2005. She has taught courses at the McGill and Université de Montréal Schools of Architecture and at Dawson College.

Date & Time: Saturday, October 14 at 2:00PM

Location: Colgate Room, Rare Books and Special Collections, 4th floor, McLennan Library Building, 3459 McTavish St, Montreal, Quebec, H3A 0C9, CANADA

Register: https://www.alumni.mcgill.ca/aoc/events-travel/EventDetails.php?id=MzMwOTQ=

Library services for alumni

Learn more about other exciting events and initiatives for alumni here.

*restrictions may apply

Online offerings

Can’t make it to Homecoming in-person? No worries. We’ve got tons of electronic resources to help you stroll down memory lane from wherever you are!

  • Old McGill Yearbooks: A rich resource for family researchers and historians alike, this slice of McGill’s history provides a unique view of student life, learning and research. Browse through the years (1898 – 2000) or enter a name. Explore Old McGill memories and stories told through photographs, drawings, letters, poetry, song, and so much more. Access them at http://yearbooks.mcgill.ca/
  • Highlights from the McGill Library these and dissertation collection: Did you know that 135 years of McGill graduate scholarship is available to be viewed online? Explore highlights from our theses and dissertation collection at www.mcgill.ca/library-theses to read work by notable McGill graduates. Do you know someone who wrote a thesis at McGill? More than 41,902 theses are now available for viewing at escholarship.mcgill.ca. We invite you to go search and lose yourself down the rabbit hole. Found something cool? Connect with us to share and you might just find it featured on the website!
  • Student Publications: With 140 years of student produced content, covered in 9,868 issues in eighteen unique papers, the student publications at McGill has a rich history. Student publications include widely disseminated student newspapers written and published by students on both the downtown and Macdonald campuses, covering the events, daily life, and opinions of students. From lofty intellectualism of nineteenth century McGill publications, to the anti-war resistance of 1960s The McGill Daily issues, the student papers at McGill shifted greatly in content and scope. However, what these publications do share is the virtue of revealing not only the lives of McGill students, but also that of a young residents of Montreal, Canada, and the larger world. All issues are available to search and download through the Internet Archive https://archive.org/details/mcgilluniversitystudentpublications. You may also want to access this great blog post written by guest contributor and student Annelise Dowd for a brief history of student publications.

Table Setting Riddles 101: The Solution Set

Mon, 08/28/2017 - 08:47

By Nathalie Cooke, Professor and Associate Dean, Archives & Rare Collections, McGill University Library

Doncaster Manuscript Collection, McGill Library. Photo: Lauren Goldman

Thanks to all who took up our riddling challenge offering answers from across Canada and abroad (including England, Ireland, and New Zealand). We promised to provide some answers and here they are!

Earlier this summer, we asked readers to solve table setting riddles penned by Eliza Smithson in 1804 in one of the manuscripts from Doncaster, England, held in McGill’s Rare and Special Collections. In the place of the name of a dish, Smithson provides only riddling clues. Puzzle me this: What was she imagining she might serve for the first and second courses of her dinner? More than 200 years later, thanks to crowdsourcing, we can suggest some excellent answers. Look below for images of her table diagrams, as well as transcriptions and proposed solutions.

Look for more table settting or bill of fare riddles shortly, and please send any further suggestions to the comments field or email info.library@mcgill.ca. With congratulations to Elizabeth Thomson for winning the bookstore coupon; and with honorable mention all those talented riddlers whose names appear here beside their solutions!

 

Solutions

Table setting riddle, Smithson Riddle Book. Photo: Kat Despain

Table setting riddle transcription. Image: Kat Despain. Click to enlarge.

Move Jack

  • A roasting jack (Judith Flanders, Dorothy Cashman)
  • A spit roast (Helen Leach)
  • Sturgeon (-> stir John -> sturgeon) (Elizabeth Thomson)

A part of your shoes stewed

  • Stewed Sole (Cashman, Sarah Hood, Leach, Thomson, Barceny Wodehouse)
  • Tongue (Kay Elčić, Wodehouse)

Taylor’s Practice

  • Dressing (Thomson)
  • Cabbage (Leach, and one 1834 Doncaster manuscript source)

Henry and what denotes Partnerships

  • -> Harry Co. -> haricots (green beans) (Thomson)
  • harrico[t] of mutton (Cashman, Leach)

Crooked Sarah

  • celery, sometimes listed as Crooked Sarah in a Passion, which is stewed celery! (American Antiquarian Society)
  • lamb, the notorious Sarah Malcolm committed murder in the Lamb Building in the Temple, London (Leach)
  • -> a wry Sall -> rissoles (Thomson, who admits this might be a stretch!)

The Grand Seignoirs dominions

  • ‘Grand Seignoir’ from OED is Sultan, so -> sultanas (Thomson)
  • The Grand Seigneur was none other than the Sultan of Turkey. Guess our holiday palates have not changed as much as one might think! (Ivan Day)
  • Also suggesting turkey (Leach and one Doncaster source)

The interior of a sportsman

  • Port (Thomson)
  • Flemters’s Puddings (one historical Doncaster manuscript source)
  • Hunters’ pudding (Leach)

One of the twelve tribes of Israel

  • Simeon -> salmon, or some way of turning Naphtali into napery? (Flanders)
  • A bad pun for Ribband (calf’s foot jelly), got from Reuben? Or ‘Benshamelle Sauce’: (see Mollard & Farley), from Benjamin?  (Sarah Hood)
  • [Genesis 49:21]: “Naftali is a swift deer.” (Anna Dysert)
  • [Genesis 49:20]: “From Asher will be his rich bread.” (Dysert)
  • Isachaar: Issachar -> Is a char. Here’s a recipe for potted char from the Housekeeper’s Instructor; or, Universal Family Cook by W.A. Henderson (1807). https://janeaustenslondon.com/tag/potted-char/ (Thomson)

A female united to a male

  • Alewife (Hood)
  • Salad – one Doncaster source and Thomson, who offers an explanation: -> Sal+Lad -> salad

What Adam gave to Eve

  • Ribs or a Spare Rib (Hood, Leach, Thomson)

An act of industry and what occasions wrinkles

  • Spinach (-> spin+age -> spinach) Thomson; or ‘Spenage’ (from one historical Doncaster manuscript source)
  • Potage (Leach)

What is found in beds joined to Martha

  • Oyster+? (Hood)
  • Oyster patties (-> oysters+Patsy -> Oyster patties) Thomson

A Baronet

  • Sir Loin (Leach, Thomson)
Second Course Solutions

Second course table setting riddle transcription. Image: Kat Despain. Click to enlarge.

A Barren waste and a Sportman’s Delight

  • Moor game – John Farley, London Art of Cookery has a recipe for Potted Moor Game (Hood)

Russian apples sour

  • Apple tart made from Emperor Alexander apples (Cashman)
  • Antonovka apples, or brined apples (Darra Goldstein)
  • Pickled beets (Sylvia Lovegren)
  • Tart (Leach)

A Beau

  • Macaroni – “Macaroni pudding was a recipe of the time.” (Cashman)
  • Matrimony (Cashman)

The first temptation & a slight gust of wind

  • Apple puffs – “I’ve found apple dessert recipes from the Regency era referred to as ‘Apple Puffs’ in modern sources, but I’ve found no proof so far that they were actually called ‘puffs’ during that era.” (Thomson)
  • “I’ve been thinking about this, and “puff” seems closer to “slight gust of wind” than “flurry” does.” http://toriavey.com/toris-kitchen/2014/03/jane-austen-apple-puffs/” (Hood)
  • “Apple flurry puff or flan: a flurry of wind in apple blossom time.” (Elka Weinstein)
  • “There also seems to be something called an “Apple breeze” although it’s decidedly cocktail-like and I can’t find any historical context.” (Andrew Senior)

What Idle people do

  • Lark (Hood)
  • Root vegetable – “Idleness is the root of mischief.”  (Sheila Ratcliffe)
  • Loaf (Leach)

A Pudding made of a Dutch Prince

  • Orange custard – “…as in William of Orange.” (Mark D’Aguilar)
  • Orange Pudding – “There’s an orange pudding mentioned in “The Young Housewife’s Counsellor and Friend.” http://docsouth.unc.edu/nc/mason/mason.html#p15 (Leach and Senior)

Roasted Furrows

  • Furrows = rows = rosé. Mulled rosé or wine? (Ratcliffe)
  • Roasted pullets [see Samuel Johnston’s Dictionary, where one form of furrow is called a pulley, cf French poulet]. (Leach)

Satan

  • Deviled eggs (Lauren Goldman)
  • Syllabub as in, Satan = Beelzebub = syllabub (Ratcliffe and Thomson)
  • “I did discover that early chocolates were referred to as diablotins.” (Thomson)
  • “Deviled kidneys were very popular at breakfast in the 1900s, but deviled meat, such as lamb or mutton was certainly around in the 1800s. Pepper, mustard, cayenne, etc.” (Weinstein)

 

 

 

Visualizing Montreal and McGill with Historypin

Thu, 08/24/2017 - 14:01

By Sarah SeversonAssistant Librarian and Coordinator, Digital Library Services

Walking around Montreal it’s easy to get lost in the past looking at all the old buildings. What if you could search for a place on a map and click to see what it used to look like?  As a part of Montreal’s 375th anniversary celebrations, we wanted to do just that. Using an online interactive mapping platform and with special funding support centrally from McGill, we partnered with a local secondary school to explore what kinds of stories our collections could tell when placed on a map. 

Historypin is a popular online mapping application that allows anyone to pin a photo, story or a video onto an interactive google map. One of the neatest features is the ability to pin a photograph and then line it up with the google street view to give you the ability to see a before and after of a place. So far, we’ve created three collections that each explore a unique moment of Montreal history and we’re excited to do more!

Lauren Hill student exploring HistoryPin at McGill. Photo: Lauren Goldman

To kick start the Historypin project, we invited two different groups of students from Lauren Hill Academy to the library and introduced them to historic materials from our Rare Books and Special Collections. We explored advertisements, architecture images and postcards of the era, then found them on a map of the period (Lovell’s Montreal Directory for 1898-9) and then pinned them on Historypin. What came out of these two workshops was one collection that explores Montreal’s industrial heritage through layers of visual material and artifacts.

The second collection started with an Expo ’67 souvenir map and overlaid with photographs from 1967 so we could see how the sites had changed from then to now. Then we took one of our slide collections from the era and had the students locate the various pavilions and sites on Historypin. One of the neatest features of the Historypin platform is the ability to see a side-by-side comparison of today’s street view with the pinned image.

One fun way to explore the Historypin collection is to take one of the tours we created that follows the path a visitor may have taken while exploring the fair grounds and viewing the pavilions. The first tour Cite Du Havre site starts you off by entering Expo’67 through the same gates original guests would have gone through.

McGill University Campus collection

For our third collection, we dug deep into our own history and clipped out photographs from old McGill student publications, yearbooks and postcards to show how the downtown and Macdonald campuses have changed over the years. Play with the slider function on the image below to see the before and after shot of the fire that destroyed the Engineering Building in the early 1900s.

Have your own photos of campus you want to add into our collection? Pin away! We invite you to share your own person photographs and stories about the campus by adding them to our campus collection.

Now it’s your turn to add your own images to the map, comment on pins you see or just explore what the city used to look like.  Have fun!