‘Well, hello machine’: Timecoding audio in the Germaine Greer Archive

by Kate Hodgetts, Audio Cataloguer

Imagine that you are a passenger in a car. The car is being driven through the British countryside. Your driver, Germaine Greer, tells you that this is her ‘Favourite road in all the world,’ and proceeds to describe the landscape in vivid, colourful detail. ‘It’s sort of dull and burnished, and rich as can be, all covered with this sort of Rembrandt brown varnish’… ‘The sky is a kind of lilac grey, quite luminous. But the land is sucking in the light.’

Later, that same voice whispers observations of life and death and you are transported to a refugee camp in Ethiopia during the famine of 1984–1985.

From here, who knows where…?

Greer's audio paraphernalia and map. Photograph: Nathan Gallagher
Germaine Greer’s audio paraphernalia and map Photograph: Nathan Gallagher

The audio series in the Germaine Greer Archive is richly diverse and invites listeners to enter into intimate, domestic moments in Greer’s life. From walking her beloved poodles Molly and Margot through the Essex country side to travelling across the Nullarbor aboard the Indian Pacific Rail Service, Greer has carried her trusty voice recorder. Sometimes she reports on what she has seen, thought, or experienced; other times she simply documents her days.

The University of Melbourne Archives (UMA) acquired the personal and professional archive of author and academic Germaine Greer in 2014. It now occupies 80 metres of shelf space in the repository. Part of this archive is 150 hours of audio recordings.

A few of the recordings are on digital audio tapes and mini discs but most are on cassette and were recorded, by Greer, directly to her voice recorder. The series (2014.0040) dates from as early as 1971, and contains diaries and travelogues, recorded in the UK, Australia, Poland, Cuba, Ethiopia and elsewhere; and interviews, lectures and radio appearances. The series includes three interviews that Greer conducted in Italian with Primo Levi (1985), Federico Fellini (1988) and Luciano Pavarotti (1991). UMA Archivist Sebastian Gurciullo has time-coded these conversations, in English and Italian. The publications that resulted from these conversations are listed in the print series (2014.0046).

Audio cassette tapes, Greer collection. Photograph: Nathan Gallagher
Audio cassette tapes, Germaine Greer collection Photograph: Nathan Gallagher

Archivists are listening to digitised versions of the recordings. University Archivist Katrina Dean had the records digitised in the United Kingdom in 2014. The creation of both preservation masters and access duplicates meant that audio files could be remastered in order to improve sound quality and accessibility without altering the original recording.

The Greer Archive also contains some home movies and these records have also been digitised. The Greer material was included in Audiovisual Archivist Emma Hyde’s audit of the UMA audiovisual collection.

 

In early 2016, Assistant Archivist Millie Weber developed time-coding procedures and UMA Archivists coded a pilot selection of Greer’s recordings, including a telephone machine answering tape from 1976.

Since July, I have been working full time on cataloguing the 150 hours of material. It’s the first time that audio material has been documented so thoroughly at UMA and much of the work undertaken within the Greer Archive will eventually be adapted to document other collections.

Like transcripts, time-coded summaries work as a finding tool to search through content, enabling researchers to quickly determine whether a recording is relevant to their work. They describe short segments of audio, providing a quick guide to themes and topics discussed within the recording. The short summaries are kept succinct and direct and keywords are included to highlight potential topics of interest that may not be explicitly explained in the description.

The team working on the Greer Archive are developing a thesaurus of subject headings. Some are Library of Congress Subject Headings and others, such as the titles of Greer’s many books, are specific to this collection.

Greer and Warhol's Monroe
In the Work section of The Female Eunuch, Greer writes: “It still comes as a surprise to most people to learn that Marilyn Monroe was a great actress, most pitifully to Marilyn herself, which is one of the reasons why she is dead.” Picture: Terence Spencer/The LIFE Picture Collection/Getty Images.

The uniqueness of the audio series within the Greer Archive and the inclusion of Greer’s audio diaries have meant that these succinct and direct summaries are humanised, and often humorous, inspiring, controversial, and colourful. Even the more formal formats of lectures and interviews hint at the character more dramatically exposed in the audio diaries.

Listening to these recordings through head phones is a privileged experience. Most of the recordings were captured by Greer with her own voice and with her own fingers pressing record, then pause, and then record again. Though digitised copies, the original aesthetic of the hand held recordings remain. Greer often wrestles with the voice recorder in an attempt to get it to capture what she wants, like the sound of the raging sea off the coast of Western Australia. ‘Can you hear the sea?’ she asks. ‘I don’t think you can hear the sea because when I am not talking to you, you turn yourself off.’ Having the recorder set to voice activation means that the sound of the crashing waves is fragmented and juxtaposed with Greer’s voice. The result is spontaneous and poetic.

Kate Hodgetts: Timecoding Greer audio
Kate Hodgetts: Timecoding Germaine Greer audio.

Listening through the Greer audio we are invited to travel through the everyday with Greer, sitting in on lectures, conversations, and car trips, and through these recordings we are able to gain a greater understanding of her life and work. While significant, unique and rich with research potential, until preserved and digitised by UMA all of these recordings were contained within old audio cassettes, not far from their life expectancy (which is up to 30 years). The significance and uniqueness of this collection highlights the urgency of preservation plans within audiovisual collections. For without proper documentation, preservation and digitisation these materials may have been, in the words of Greer, fumbling with her recorder, ‘lost to posterity.’

The audio series is still being catalogued and processed along with the rest of the collection. The archive will be open to researchers from 27 March 2017. I will be one of the speakers at the ‘Meet the Greer Archivist’ event to be held on International Women’s Day, 8 March 2017.

 

For more information on the Germaine Greer collection, archive project and online resources please visit the Germaine Greer collection webiste

October 27 celebrates World Day for Audiovisual Heritage.  Dedicated by UNESCO, the day aims to increase awareness of the importance of audiovisual materials and to highlight the urgent need for preservation and digitisation. “It’s your story – don’t lose it ” is the theme of this year’s celebration. 

Revolutionary printing: money!

In 2016 we celebrate 50 years of decimal currency and innovations in paper money such as the next generation five dollar note. In Australia before the unifying advent of Federation which occurred in 1901, currency was a more chaotic affair. Banknotes represent a nation’s economic stability and during times of war and upheaval, these crises are likewise reflected in the currency. To show both students of printmaking and financial studies, the rich links between printing and economic history, the Baillieu Library Print Collection has acquired three engraved banknotes.

French Revolution banknotes

A variety of currency which arose and fell with the French Revolution was the assignat which were only printed between 1789 and 1795. Rather than having a value assigned to silver or gold, this engraved note was instead assigned to a value of land and was interest bearing. The Domaines Nationaux (1789-93) was an organisation established from the sale of the church lands, land which became the financial basis for assignats. Controlled by the National Assembly it was responsible for printing assignats and for their circulation in France. Louis XVI is featured on the note, and would remain there until his deposition when his portrait was replaced by the cap of liberty. The acquired note also features the signature of Camberlain, a representative for La Caisse de l’Extraordinaire, a department formed to issue assignats and combat their forgery.

Assignat

Forgery

A British government sanctioned scheme saw economic warfare unleashed when British artists and other individuals flooded the French economy with forged assignats. These forged notes were intended to further ruin the financial stability of the French nation.[1] By 1795 an assignat was virtually worthless and they were withdrawn from use.

The British authorities showed no leniency towards its own citizens who forged the nation’s currency, however. To be found in possession of a forged banknote was a crime punishable by hanging. Forgery was not always an act of war; it was most often the crime of destitute men, women and children. In 1819 the artist George Cruikshank (1792-1878) was so disturbed by the sight of the hanged forgers wreathing the walls of Newgate prison, that he designed what is commonly referred to as the hanging note . [2] This note was influential in drawing attention to the overly harsh punishment which brought about reform and the lesser punishment for forgery offences: deportation to the penal colony of Australia.

Australian Pre-Federation banknotes

Many of the convicts sent to Australia were forgers, such as Joseph Lycett (born c. 1794). Lycett produced important colonial works of art including the book Views in Australia (1825) which is a highlight of the Rare Books collection.[3] However, he was also forging colonial banknotes: ‘unfortunately for the world as well as himself [Lycett] had obtained sufficient knowledge of the graphic art to aid him in the practice of deception, in which he has outdone most of his predecessors’.[4] Due to a shortage of British coins, a system of promissory notes, (which functioned somewhat like a cheque) was being used in the colony.  Given that the history of banknote production and that of forgery occur concurrently, printing had to evolve, and so banknotes feature very sophisticated artistry and printing techniques.

Unlike present day Australian banknotes which are a uniform set carefully overseen by the Reserve Bank of Australia, before Federation any bank could issue paper currency and all of the states colonies were printing their own notes. Not surprisingly this cornucopia of paper money was an inefficient system.

Lycett, like many other forgers, was using a copper plate to produce clever imitations. As the uncirculated Bank of Australasia five pound note states in the inscription by the lower margin, it was produced with a patent hardened steel plate by Perkins, Bacon & Co. Jacob Perkins (1766-1849) pioneered new printing innovations including one he called ‘siderography’ which is to engrave on steel. This method enabled thousands of identical complex designs to be printed from a superior metal plate and was extremely difficult to copy. Engraving on steel would be one of the products born of the Industrial Revolution.[5]

Five pounds

A great leap in the complexity and visual appeal is evident in the Bank of Victoria one pound colour trial specimen, which depicts that colony’s namesake: Queen Victoria. Several artists and equipment would have been utilised to produce this sophisticated banknote. Unlike the previous two notes, this specimen is printed on both sides, an innovation which thwarted many forgers. The verso shows a guilloche, or an intricate repeated design which is produced by a lathe. A tool called a stump engraver would have been used to print the word ‘one pound’ repeatedly. These features, together with the use of multiple colour plates form an almost impenetrable security system.

Colour trial specimen

Verso colour trail specimen

By the 1890s in Australia, approximately 64 banks were trading before a crisis in 1893 which saw many of them close. By 1910 British pounds were no longer the nation’s currency and promissory notes were not legal tender.

Kerrianne Stone (Curator, Prints)

References

[1] Peter Bower, ‘Economic warfare: banknote forgery as a deliberate weapon’ in The banker’s art: studies in paper money edited by Virginia Hewitt. London: British Museum, 1995, pp.46-64

[2] The story of paper money by Yash Beresiner and Colin Narbeth, Wren publishing Melbourne, 1973, pp 23-26

[3] Joseph Lycett, Views in Australia, or, New South Wales & Van Diemen’s Land delineated: in fifty views with descriptive letter press, London: J. Souter, 1824-[1825]

[4] From the Sydney Gazette 1815 quoted in Printed images in colonial Australia 1801-1901 by Roger Butler, Canberra : National Gallery of Australia, c2007, p. 51

[5] See Gary W. Granzow, Line engraved security printing: the methods of Perkins Bacon ,1790-1935; banknotes and postage stamps, London: Royal Philatelic Society London, 2012

James Cassius Williamson: A Musical and Theatrical Legacy

jcw-col-de-basil-ballet-copy

Rare Music has a magnificent collection of Concert and Theatre Programs including a compilation of J.C. Williamson programs covering opera, drama, comedy theatre, musical, ballet and Gilbert & Sullivan. The collection provides a wealth of research material for anyone interested in the history of theatre in Australia. The précis of Williamson and the collection here intends to stimulate curiosity and establish the historical significance of the compilation in the annals of theatre in Australia.

James Cassius Williamson (1845–1913), actor and manager, and his actress wife, Maggie Moore came to Australia from America in 1874, with a new play called Struck Oil. The play’s huge financial success was to lay the foundation for the couple. They toured the play in India, England and America and returned to Australia in 1879 to form the Royal Comic Opera Company. They also returned with the rights of the Gilbert & Sullivan opera H.M.S. Pinafore and contracts for succeeding works by the duo. They gave their opening performance of H.M.S. Pinafore at the Theatre Royal, Sydney on 15 November 1879, both of them playing leading roles. This performance reflected Williamson’s innovativeness in modernising the Australian stage, producing stage shows that reflected the life of the time. Rather than reproduce Shakespearean drama—16th century “characters in doublet and hose”—“he brought [the stage] into intimate relation with the lives of plain people”. 1) To fill the roles Williamson brought out stars from America and England, but encouraged local talent when he could find it.

the-comedy-theatre-copy

J.C. Williamson Theatres Ltd was established in 1879 by Williamson in partnership with George Musgrove and Arthur Garner. They became known as “The Triumvirate”. Their theatres included: Her Majesty’s, Melbourne; Comedy Theatre, Melbourne; Empire Theatre, Sydney; Theatre Royal, Sydney; His Majesty’s Brisbane; Theatre Royal, Adelaide; His Majesty’s Theatre, Auckland; Grand Opera House, Wellington; Theatre Royal, Christchurch. By 1911 J.C. Williamson’s Theatre Ltd had become known as “The Firm”. There were many variations to the partnership over the succeeding years. 2)tittell-brune-jcw

The Concert and Theatre program collection encompasses theatre and drama beginning with a 1906 souvenir of Miss Tittell Brune as “Dorothy Vernon of Haddon Hall” (Box 103 a). IMAGE?? Twenty-five years after the death of Williamson—and, I imagine, to his chagrin—there was a resurgence in Shakespearean plays, performed by international companies such as: John Alden Company (Box 103 c); The Shakespeare Memorial Theatre Company (Box 103 b); The Old Vic Company featuring Katherine Hepburn and Robert Helpmann (Box 103 e); and The Royal Shakespeare Company featuring Judi Dench (Box 103 j). Australian plays such as Peter Scriven’s Tintookies (Box 103 f), however, were also promoted.

melbas-farewell

On 28 April 28 1928 the doors opened at The Comedy Theatre, on the historic site of The Iron Pot “bring[ing] to fruition…. an intimate theatre … form[ing] the coping stone of the worldwide organisation of J. C. Williamson Ltd …” 3) Performances ranged from solo artists such as Maurice Chevalier (Box 104 b) to plays like A Streetcar Named Desire (Box 104 d) and Australian productions as Ray Lawler’s Summer of the Seventeenth Doll (Box 104 f). The opera collection also encompasses The Melba Grand Opera Season of 1911 (Box 105 a), which was touted as the greatest musical occasion in the history of Australia. The Quinlan Grand Opera Season (Box 105 b–c) followed in 1912–13. The Williamson & Dame Nellie Melba Grand Opera Seasons of 1924 and 1928 (Box 105 d–g) included the 1924 farewell performance of Melba in La Boheme (Box 105 f). Further opera collaborations were formed from 1948–58. A major landmark in the establishment of opera in Australia was in 1965 with the return of Joan Sutherland and Richard Bonynge and the formation of the Sutherland/Williamson Grand Opera Company (Box 107).jcw-pavlova

J.C. Williamson Ltd has been instrumental in presenting some of the world’s greatest ballet dancers to the Australian public. In 1913 Adeline Genee’s company was the first to perform. Along with Pavlova’s seasons of 1926 and 1928 (Box 112 a) they laid the foundations for the development of ballet in Australia. Many international acts followed and on 8 May 1939 Edouard Borovansky established his Dancing Academy in Melbourne; coincidentally World War II provided an opportunity to train Australian dancers. The Borovansky Australian Ballet had its first season at The Comedy Theatre from 9 December 1940 (Box 11 a). After the death of Borovansky, The Australian Elizabethan Theatre Trust in a joint venture with J. C. Williamson Ltd formed The Australian Ballet. It began its inaugural season in Sydney on 2 November 1962 (Box 11 h).jcw-ballet-sainthill-design-de-basil-copy

Her Majesty’s Theatre (Melbourne, Brisbane, Sydney) was the home for numerous musical productions from The Maid of the Mountains (Box 108 a [1921]) to La Cage Aux Folles (Box 109 e [1984]). Musicals are still a major part of the cultural fabric of the theatre scene in Australia. Her Majesty’s was also the backdrop for many Gilbert & Sullivan productions (Box 110).

streetcar-named-desire

Williamson’s success can be found in his middle-class background, which gave him an understanding of what the public wanted to see; his very popular actress wife was also influential in the company’s triumph. Williamson’s theatrical legacy has significant cogency in the history of cultural production in Australia and New Zealand. His legacy transverses the worlds of drama, ballet, opera, comedy and musical. This historical overview endeavours to entice the reader to find out more by visiting Concert and Theatre Programs listings online.

  1. Elizabethan Trust News: J. C. Williamson’s Theatres Ltd. Centenary Year 1974 (July 1974) p. 4–5 (Box 96 k).
  2. “The History of the Firm” in The Royal Ballet [1959] (Box 112 e).
  3. Opening Souvenir Comedy Theatre [28th April 1928] (Box 104 a).

Dr Nigel Abbott

Nigel has worked on the Concert and Theatre Programs collection as a volunteer since 2012, developing and listing the collection, which now numbers well over one hundred boxes.

New website: ‘Teaching with unique collections’

Ever wondered what you could do with Shakespeare’s second folio and a bamboo pipe? These and many more objects along with innovative learning ideas are presented on a new website: Teaching with unique collections .  Made possible with a Melbourne Engagement Grant, the website provides resources, an online showcase, and a virtual setting for teaching and learning in many disciplines.

The university’s unique collections are dynamic resources brimming with opportunity to enhance student engagement, in particular, through the incorporation of object-based learning within coursework subjects. These learning opportunities range from analysing a work of art first hand to more surprising encounters, such as music to operate by.

The website features objects, books, manuscripts, works of art and other items from the university’s Prints, Rare Books and Rare Music collections, Grainger Museum, University of Melbourne Archives and Ian Potter Museum of Art. Visitors will also find information and ideas about some of the intriguing objects reproduced on the façade of the dynamic new, and object-based learning focused Arts West building.

Showcasing six objects

Kava spoon

Kava spoon, Grainger Museum
This spoon carved out of a coconut shell is of Melanesian origin, probably from the island of Papua. It is one of many ethnographic items acquired by the Australian-born composer, pianist and conductor Percy Grainger (1882–1961) over his lifetime. It could be used to investigate the drugs, such as the potent kava drink, that shaped society.

Figurine of a horse and rider

Figurine of horse and rider, Cypriot, Ian Potter Museum of Art
This equestrian figure may come from Agios Iakavos, a village in north-eastern Cyprus, and is decorated with an abstract bichrome (two-colour) pattern. One intriguing aspect of its appeal is the uncertainty of its precise function. What does it reveal about ancient life, and the afterlife?

The goldweigher

The gold weigher, by William Baillie, Baillieu Library Print Collection
Jan Uytenbogaert was the Dutch receiver-general or tax collector. It is likely that Rembrandt knew Uytenbogaert, who helped the artist secure payments for his art. Rembrandt was working during a time of flourishing trade and expanding colonial possessions, fuelled by unrivalled sea power; it was the Dutch golden age. This print can be used to illustrate financial and economic concepts such as demand, supply, and market forces.

Bamboo pipes

Bamboo pipes, Rare Music Collection
In England and France during the 1920s and 1930s there arose a pipe music education movement, which aimed to involve children in making musical instruments in class and then playing them. The movement overlapped with the Great Depression and offered an innovative and inexpensive entry into music performance. Pipes could be made using cheap materials and they offer the opportunity to develop skills for both music and health.

Grammar of ornament

The grammar of ornament, by Owen Jones Rare Books Collection
The grammar of ornament is a decorative arts source book of almost encyclopaedic scope. It gathers together ornamental designs from vastly different eras, places and cultures and has influenced many artists and architects. Designs are vividly reproduced in 100 chromolithograph plates, an innovative colour process perfected in the 19th century. It may be used to analyse buildings, places and architectural images.

Corroboree

Corroboree, by Tommy McRae, University of Melbourne Archives
Tommy McRae, an Indigenous artist of the Kwat Kwat people, was born near Wahgunyah in north-eastern Victoria. As well as working as a stockman, he was a prolific draftsman, filling his sketchbooks with narrative images such as Corroboree (c.1890). The drawing encourages discussion into materials and motifs in Australian art.

These are just a few of the inspiring objects and ideas to be explored on the website Teaching with unique collections http://library.unimelb.edu.au/teachingobjects.

Zodiac Man: a time capsule of weather prophecies, health predictions and popular culture in a 1616 almanac

Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b2889861

If the mobile phone has become the essential life accessory of the 21st century, the almanac can be considered the indispensable accoutrement of the early modern period, reaching an apex of popular appeal in a ‘golden age’ of the 1640s.  These annual calendars, which were published prolifically from late medieval times to the 18th century, provided cosmic guidance on the events of the year ahead – how to act, make decisions, cure diseases, solve misfortunes – according to the most propitious alignments of the heavens.

The moon’s aspect in relation to the major planets, for instance, would influence which days were best for hiring servants, beginning journeys and seeking the love of women, whilst others were fortuitous for repairing houses, putting on new clothes and conversing with old men. In an age where death and disaster were an everyday feature of life, to be without an almanac to supply forward navigation through the year could put you at risk of unseen misfortunes and potential catastrophes.  What better to have forewarning at the year’s outset, so that you could prepare for and steer a course around impending calamities.

Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b2889861A fiercely competitive publishing market developed for both general and specialist almanacs, the former printed for an avid reading public and the latter for targeted audiences such as farmers, sailors, clergymen and for particular regional areas. Mainly produced as small pocket-sized booklets which could be carried and stored for ready consultation whether at home or on the road, almanacs were also issued as wall charts in sheet form.  To minimise production costs and maximise profits, predictions and remedies contained in almanacs were necessarily short and to the point, and information was presented without detailed explanation.

An early almanac in the Rare Books Collection, A concordancy for the yeares (1616) explaining ‘the infortunate and fatall dayes of the yeare, as also of the good and happy dayes’ was written by a respected Hertfordshire astrologer Arthur Hopcroft (1588?-1614).[i]  Part astronomy, part astrology, the predictions contained in almanacs reflected a world view in which cosmology and the physical universe were harmoniously intertwined and with divinity and the workings of God.

Close reading of this pocket-sized handbook provides a fascinating encounter with a mini 400 year old time capsule, evoking the thoughts and preoccupations of the period in which it was produced. Hopcroft’s astrological calendar for October 1616 portends that the 5th will prove unhappy but the 3rd, 16th, 24th would be ‘not to bad’.  By far the most perilous month of the year would be January with eight unfortunate days and no happy ones.  Actions to be avoided on unhappy days included the beginning of ‘wordly affairs, giving birth, or being bled’.

Zodiac Man

An essential element in popular almanacs was the Zodiac Man, who was pictured prominently with the 12 astrological signs around him, each governing a different body region. Inhabitants of the early modern world had a heightened awareness of the relationship between celestial bodies and the human form.  Ill-favoured planetary alignments would result in illnesses in certain regions of the anatomy, as well as provoking calamitous events such as plagues and other natural disasters.

Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b2889861

The relative positions of the celestial bodies when a patient first became ill were very important in diagnosis and treatment – often given more weight than actual symptoms – and the Zodiac Man helped explain and reinforce the most propitious remedies. A poem from a contemporary almanac explains the powers of each sign:

[Aries] The Ramme doth rule the head and face:

[Taurus] The Necke and Throat is Taurus’s place.

[Gemini] The Twinnes the Armes and Shoulders guide:

[Cancer] The Crab the Breast, the Spleene and side.

[Aquarius] The legges T’Aquarius doth fall:

[Pisces] And Feete to Pisces last of all.

[Leo] The Heart and Back’s hold Leo’s share:

[Virgo] Of Belly and Bowels the maid takes care.

[Libra] To Libra Reines and Loynes belong:

[Scorpio] The Secrets to the Scorpion.

[Sagittarius] The thighs the Archer doth direct:

[Capricorn] And Capricorne the knees protect.[ii]

The region of the knees were at most risk in January when Capricorn was dominant in the skies, whilst persons born under the sign of Aries were more prone to diseases of the head and face ‘such as head-aches, tooth-aches, migraines, pimples and small pox’.[iii]

Gradually as new scientific knowledge increased and faith in old beliefs lost their sway over the shared imagination, parodies of some of the more outlandish forecasts of almanacs began to appear. The Owles Almanack of 1618 predicted drolly that ‘the best time to fell timber was when one needed a good fire, and to cut hair when it is too long’, listed amusing sinners days as well as saints days, and included witty chronologies ‘commemorating the farmer who tried to teach his cow rope-dancing, and the gentleman who bought a periwig for his magpie’.[iv]  Later in the century after dining out on Friday 14th June 1667, Samuel Pepys recorded in his diary ‘thence we read and laughed at Lilly’s prophecies this month, in his Almanack this year!’

Despite Hopcroft’s own respected astrological credentials, he himself was to meet an untimely demise in his 26th year in the London parish of St Dunstan’s.  Although the circumstances of his death remain unrecorded, we can only hope that he was able to find amelioration and guidance from the predictions he made in his concordances.

Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b2889861Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b2889861

Susan Thomas, Rare Books Curator

Bibliography and further reading:

Hopcroft, Arthur. A concordancy of yeares: containing a new, easie, and most exact computation of time, according to the English account. Also the vse of the English and Roman kalender, with briefe notes, rules, and tables, as well mathematicall and legal, as vulgar, for each priuate mans occasion. Newly composed, digested and augmented by Arthur Hopton, gentleman. [London] : Printed [by Nicholas Okes] for the Company of Stationers, 1616.

Bertelsen, Lance. ‘Popular entertainment and instruction, literary and dramatic : chapbooks, advice books, almanacs, ballads, farces, pantomimes, prints and shows’ in John Richetti (ed.) The Cambridge history of English literature, 1660-1780. Cambridge: Cambridge University Press, 2005.

Capp, B. S. (Bernard S.) Astrology and the popular press: English almanacs, 1500-1800. London : Faber, 1979.

Curth, Louise Hill. English almanacs, astrology and popular medicine : 1550-1700. Manchester : Manchester University Press, 2007.

Endnotes

[i] Hopcroft, Arthur. A concordancy of yeares… [London] : Printed [by Nicholas Okes] for the Company of Stationers, 1616.

[ii] Curth, Louise Hill. English almanacs, astrology and popular medicine : 1550-1700. p.121

[iii] Op cit, p.123

[iv] Capp, B. S. Astrology and the popular press: English almanacs, 1500-1800, p. 251

 

 

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