If you’ve been walking through the HBLL recently you may have seen some giant posters in old German type hanging around the north entrance:
They are part of the library’s newest exhibit on Martin Luther and the beginnings of the Protestant Reformation. You’ll see some of Luther’s most famous writings in the exhibit, but they are just a small slice of the many hundreds of items written by, about, and against European religious reformers of the 16th century that are held in L. Tom Perry Special Collections. You can learn more about what’s in the collection — and see images of works by writers like Luther, Erasmus, and Calvin — by checking out the resources on the Special Collections Renaissance & Reformation Collection homepage.
Special Collections has added several outstanding pieces of Edo Period Japanese art and illustration to our holdings, including the work of celebrated artists and a very interesting artistic technique. These items are all currently available for research in our reading room or classrooms!
Sō Shiseki gafu 宋紫石画譜, 1765
A woodblock-printed book reproducing the artwork of Sō Shiseki (d. 1786), a leading painter of the Nagasaki school.
A set of scrolls depicting troops of soldiers taking up their place in battle. The figures have been created with stamps and then hand-colored, an uncommon printing or illustration process for scrolls.
L. Tom Perry Special Collections is pleased to announce the availability of a new digitized collection: Orson Pratt letter to Nathaniel H. Felt. This item is a handwritten and signed letter, dated December 11, 1866, written from Liverpool, England, on “Latter-Day Saints’ European Printing, Publishing, and Emigration Office” letterhead. It is a brief letter to Felt, who is serving a mission in the British Mission, giving him advice on how to carry out his duties as a missionary. The letter is also signed and post-scripted by William B. Preston.
Orson Pratt, “Harper’s Weekly,” August 1866
Orson Pratt, Sr. (September 19, 1811 – October 3, 1881) was an American mathematician and religious leader who was an original member of the Quorum of Twelve Apostles of the Church of the Latter Day Saints. He served several missions for the LDS Church, including as President of the British Mission. Pratt was a leading Mormon theologian and writer until his death. He is probably most known for his pamphlets written in defense of LDS Church doctrines, and publicly announcing the Church’s practice of polygamy in 1853. Pratt defended this practice in 12 monthly installments in the church periodical The Seer. He died in Salt Lake City, Utah, of complications from diabetes.
In 1977, the Cecil B. DeMille papers (MSS 1400) were donated to the BYU Special Collections. In this collection, we have 1,263 boxes of correspondence, production-related artwork, still photographs, and AV materials that cover the career of one of classic Hollywood’s most dynamic and significant filmmakers.
One of the interesting pieces of information hidden in Special Collections concerns the casting and effects of the voice of God in the grand spectacle film The Ten Commandments (1956), starring Charlton Heston as Moses. The voice of God is heard twice in the film, first out of the burning bush on Mt. Horeb, as God calls Moses to deliver his covenant people, and the second when God gives the Decalogue atop Mt. Sinai.
In his autobiography, DeMille speaks of how taxing a prospect this was. The production team tried sound engineering tricks, tried mixing a chorus of voices from all over the world, and even tried recording under water. He reveals that Charlton Heston’s own voice was actually used for the first time we hear God’s voice from the burning bush: “An ancient Jewish legend solved half our problem. The Midrash Rabbah says that from the Burning Bush God spoke to Moses in the voice of Moses’ father, Amram, so as not to frighten him. That lovely courtesy of God suggested that our audience too might accept a not unfamiliar voice, a little slowed and deepened: and so the Voice of God at the Burning Bush is Charlton Heston’s voice” .
The second time that God’s voice is heard is in the climactic special effects sequence when God’s fiery finger writes in stone as each commandment is given. In the same autobiography, DeMille recalls, “It was impossible to find that voice, until one day Henry Wilcoxon asked me to come to the projection room and listen to some readings of the Commandments by different voices. One was right. Henry asked me if I recognized the voice. I did not. He told me then whose it was: a man I had known for many years, not a professional actor, whom Henry had persuaded to come to the dubbing-room and record the lines spoken by the Voice of God at the giving of the Commandments, without telling me that it was being done. It was agreed among us that, out of reverence for the part of the Voice of God, the name of the man who played it should not be revealed. I will not reveal it here” .
However, after DeMille’s death, Delos Jewkes, a Utah-native and featured soloist with the Mormon Tabernacle Choir, revealed his role in the production. Former curator of the Arts & Communication collection in the L. Tom Perry Special Collections, James V. D’Arc explains, “Sometime after DeMille’s death in January, 1959, it was noised about that one Delos Jewkes, a native Utah singer and sometime bit-playing actor in a number of movies, including The Music Man (1962), began speaking to groups (including LDS fireside presentations) about his years in the music and movie business. In newspaper articles in Utah County newspapers (he retired to American Fork), he claimed to have been hired by Paramount Pictures to be the Voice of God for only one sequence in the film. As I have repeatedly watched the Finger of God sequence, and having heard Jewkes’s basso profundo voice of his in other films, I have no doubt that Jewkes’ claim was correct.”
Confirming this, an audio engineer recently slowed down a recording of Jewkes voice 14% and found it to be virtually identical to the recording in the film.
Indeed, a reference to this can be found in the DeMille papers. Inside Box 683, Folder 4 in the DeMille collection, we found a note dated March 4, 1955 which includes a stapled piece of paper verifying that earlier on February 28th, two men had come in to record for Mr. Wilcoxon. They were Delos Jewkes and Thurl Ravenscroft (of You’re a Mean One, Mr. Grinch fame).
While maybe not a signed contract, or a definite ‘the Voice of God was ________,’ it pieces together a likely scenario. Also in the same box and folder are discussions of how the Voice of God would be handled with tact in various language translations and for certain audiences worldwide. It goes to show what deep treasure troves we have here at the HBLL, just waiting for student scholars and researchers to come uncover. So come down and look through a box, or read an autobiography of your favorite filmmaker. You never know what you might find.
Special thanks for research assistants Elizabeth Condie and Brittany Brockbank; and of course Jim D’Arc, who had much of this in his head.
Savage was one of three photographers commissioned to document this event – one of the most important in 19th Century American history. Along with this iconic image, second in fame only to Union Pacific photographer Andrew J. Russell’s image of the event, Perry Special Collections has two other images that Savage took on this day (see below):
Getting ready to lay the last rail / C. R. Savage, Promontory, Utah, May 10, 1869
Driving the last spike / C. R. Savage, Promontory, Utah, May 10, 1869
Starting in August 2018, look for exhibits and other events here at Perry Special Collections and the Lee Library, and throughout the state, as we gear up for the 15oth anniversary of this important historical event!
English poet John Keats published his famous long poem Endymion in the spring of 1818. The first literary reviewers hated it, but over the centuries, the poem and poet’s legacy has grown and it’s now a staple of English poetry anthologies. Even if you’ve never read Endymion, you probably know its first line: “A thing of beauty is a joy forever.” Special Collections owns a first edition of Endymion, bound in the 20th century by the renowned firm of Sangorski & Sutcliffe. It truly is a thing of beauty!
Following the inauguration of President Benjamin Cluff, Brigham Young Academy began strengthening its requirements for granting degrees, while expanding its curriculum. At the time the Church Normal Training School was established in 1891, incoming students had to be high school graduates of at least age 14 and were required to complete a four-year course of study to qualify for a Bachelor of Didactics diploma. Both of these requirements changed in 1894/1895, with the admission age raised to a minimum of 16, and successful completion of a comprehensive examination. Graduation requirements were also adjusted, moving from a four-year to a six-year program. When the Collegiate Department was formed in 1896, graduation requirements changed again, returning to “four years’ work, beginning with the twelfth grade. This includes the Normal Training School of three years’ work.”
At the time of the requirements change in 1894/1895, those that had been previously enrolled were allowed to complete their degree according to the old requirements, if they could graduate before the end of the 1898 school year. Due to these shifting requirements, only one student graduated in 1899 with a bachelor’s degree–John M. Mills. Mills had first entered the Academy around 1886, and was allowed to complete his program in 1899. However, the Utah County Democrat reported that “there was no graduating class this year.” This aberration was changed the following year with full commencement exercises for the “Century Class” of 1900.
Special Collection’s newest small exhibit is ““Handicrafts & Heritage: LDS Relief Society Bazaars,” a look at the 20th century phenomenon of Relief Society fundraising fairs. Relief Society sisters from all around the world participated in bazaars, selling handmade crafts and foods to raise money for their Relief Society budgets. The exhibit features photos and crafts from bazaars held from Provo to French Polynesia, in conjunction with the larger exhibit on level one of the library, “Welcome to Our Charity Bazaars,” which tells the story of fundraising bazaars’ origin in Victorian England. The exhibit will be on display through the month of May.
Special Collections has just digitized a set of books of games from Victorian England. From charades and riddles to group party games and homemade toys, these books illustrate the types of home-based entertainment which were popular among children and adults in the 19th century. Find and try a game your ancestor might have played, or at least learn what characters from your favorite 19th century English or American novel were doing when they were playing games like “forfeits.” You can find the scanned items at the library’s Victorian Collection on the Internet Archive.
A collection of 18th century editions of French poetry and drama has recently been added to Special Collections. From major authors like Voltaire and Molière to collections of obscure playwrights, there are plenty of resources now available for scholars of French literature. Books from this collection can be found in the library catalog by searching for individual titles and authors or by using genre terms like “poetry — French,” “French drama,” or “French drama (comedy).”