The St. John’s Episcopal Church Records includes administrative records; member registries; meeting minutes of the Vestry and church circles; Bibles, Books of Common Prayer, hymnals, and other liturgical works; documentation of the history of St. John’s Church and the Episcopal Diocese of Florida; service bulletins and other periodicals; sermon transcripts; photographs; and motion pictures. We recently completed digitization and making available some of the registers from the collection. These materials give you a look into parish life from 1832 to 1953. In particular, these registers track baptisms, burials and marriages in the Church over that time period.
St. John’s is the mother church of the Diocese of Florida. It was founded as a mission parish in 1829, and the church’s first building was erected in 1837. The Diocese was organized at St. John’s in 1838 and Francis Huger Rutledge, who became rector of St. John’s in 1845, was consecrated the first Bishop of Florida in 1851. The original church burned in 1879; a new church was built on the same site and consecrated in 1888, and it is still the parish’s principal place of worship.
The Digital Library Center partnered with the Department of Art History to host a UROP student this semester, Chase Van Tilburg. Here is a bit about him and his work over the last two semesters.
My name is Chase Van Tilburg, I am working towards my Bachelor’s of Arts in Art History and my Masters of Arts in Museum and Cultural Heritage Studies. I currently work for University Housing as a Resident Assistant. In Fall 2016 I was granted the life changing opportunity to be a part of the Undergraduate Research Opportunity Program (UROP). Through UROP I was introduced to the John House Stereograph Collection.
Going into this project, I was both excited and nervous. I truly did not know what to expect. I began with little knowledge of digital archival work and of what a Digital Archivist was. While working with the John House Stereograph Collection, I really looked deep into the images when identifying them. With each card I wrote metadata for, it felt as if I was a part of the image. Documenting each card forced me to dig deep into the historical and visual context of each image and do detailed research into each card to properly identify the locations, monuments, and architecture.
Working with this collection I realised that it is not enough to just look at the cards on the computer. The experience of physically handling each card and viewing them stereoscopically is an extraordinary and vital experience, one in which I want to make available to everyone. To do this I am taking this collection beyond the 2D digital image and am taking these cards into the 3D realm by scanning each card into a 3D model with the help of the FSU Morphometrics Lab. This project helped me to discover a passion for Museum and Cultural Heritage Studies, and for that, I will be forever grateful.
The Institute on World War II and the Human Experience has partnered with the Digital Library Center to bring selections of its holdings to DigiNole. Some of the recent additions are from the Frederick C. Jackson collection. We welcome guest contributor Emily Woessner, the student who is processing the Jackson collection and completed the description for the digital items.
Frederick C. Jackson was a 21 year old infantry soldier from Connecticut when he was shipped to Anzio with the 180th Infantry Regiment, 45th Infantry Division during World War II. I myself am 21 years old, but instead of fighting in the Battle of Anzio I am processing Jackson’s collection here at the archives of the Institute on World War II and the Human Experience at Florida State University. After researching the battle and connecting the dots, I am reminded and beyond grateful for the service and sacrifice of these brave men.
Beginning on January 22, 1944 the Battle of Anzio would be a four month long ordeal between British and American Allies against the Germans in Italy. The main goal of this campaign was to break through the Gustav Line just south of Cassino, Italy. Another potential aim was to take Rome. The Allied campaign was led by British General Holder Alexander, American Lieutenant General Mark Clark with the help of American Major Generals John P. Lucas and Lucian Truscott.
The Battle of Anzio, unfortunately, turned into a poorly executed campaign that saw too few Allied troops assigned to such a major task. The Allies had roughly 75,000 troops compared to the German’s 100,000+. After four months of fighting, gridlock, and a command change the Allies were eventually able to capture Rome, but ultimately unable to break the Gustav Line. The Battle of Anzio saw the death of 7,000 and wounding/missing of 36,000 Allied soldiers. The Germans sustained losses of 5,000, wounding/missing of 36,000, and the capture of 4,500 soldiers. Although the campaign was widely criticized afterwards for its poor handling and communication, Churchill defended it saying it accomplished the goal of keep German troops occupied and away from Northwestern Europe where the invasion of Normandy was to take place several months later.
Frederick C. Jackson was not left unscathed by the battle, however he did survive. On March 23, 1944 he was hit by shrapnel causing damage to both of his arms and the loss of his right eye. He was subsequently evacuated and returned to the U.S.
Emily is a third year international affairs major with minors in German, museum studies, and art history. Since August 2016, she has worked as an assistant archivist at the Institute on World War II and the Human Experience at FSU and will continue to do so until she graduates in spring 2018. This summer she looks to expand her archiving experience as she embarks on an internship at the National Museum of American History in Washington D.C.
On many personal notes, this collection is cool. One, I was a theater nerd in high school and I’ll be honest, I never gave much thought to the stage rigging. This collection is changing things. Two, J.R. Clancy calls my hometown its hometown. So, I’ve enjoyed getting to work with this collection which is a very good thing because we’ll be working with it in the Digital Library Center (DLC) for a long time into the foreseeable future.
The J.R. Clancy stage rigging firm was established by stagehand John Clancy in Syracuse, New York, in 1885. The firm is known for innovating products and techniques for stage design including the Welch tension floor block, the automatic fire curtain, and automated stage rigging. The collection itself includes architectural and engineering drawings related to construction and renovation projects managed by the firm, including theatrical designs, drawings for standard parts, wiring diagrams, and standard assemblies for stage rigging systems. You can see the finding aid for the collection in Archon.
The collection here at Florida State University was acquired through the School of Theatre several years ago with the idea that the collection would be digitized in its entirety in the future. Due to the nature of materials, and the scope of the collection (numbering in the the tens of thousands of drawings!), we’ve been doing some major planning and thinking through the digitization project. The collection itself is still in processing which adds another challenge on top of the volume of it. So, for the moment, the collection is being digitized by patron request through the Clancy firm. The first batch of materials is now available online through this process. This set of drawings are for rigging components for the Centennial Concert Hall in Winnipeg, Manitoba, Canada which is getting ready for a renovation project and wanted the original rigging plans for their upcoming work.
As we add more to this collection, we’ll be sure to highlight it here on the blog. In the meantime, the collection does have a finding aid and is available upon request in the Special Collections Research Center Reading Room.
In 1982, a construction crew started what was supposed to be a routine de-mucking of a small pond in preparation for road construction of Windover Way. It is located in east central Florida, about 16 miles inland from the Atlantic Ocean. However, in the course of the construction work, human remains were discovered. Once it was determined they were not of forensic interest, the construction company contacted Florida State University anthropology faculty to create a research proposal for the landowners.
What followed was three field seasons at Windover from 1984-86 that uncovered the remains of 168 individuals as well as other culturally significant objects from a mortuary pond dated from between 6000-5000 BC. Because of the peat and small pond nature of the site, not only skeletal material but also normally perishable organic artifacts were also discovered. Perhaps most interestingly, enough brain matter was recovered from some skulls to conduct DNA sequencing on the remains.
A partnership with the Department of Anthropology is bringing data from the Windover digs to DigiNole. We have loaded the first batch of materials which includes field notes and excavation forms from the digs. More field notes and forms will follow shortly. We’ve also working with Digital Support Services at the University of Florida to digitize x-rays of the bones found at Windover. Maps and digitized slides from the seasons will come at a later date as well.
The DLC has been excited to work on this project as it lets us continue to develop models for these sorts of “split” projects where digitization is happening both in the Department of Anthropology and the DLC, allowing each group to work in their area of expertise as well as splitting the work to move forward in a more efficient way.
For more information about the Windover site and the work done there, see Doran, G. H., & Thomas, G. P. (2015). Windover: an overview. Tagungen des landesmuseums fur vorgeschichte halle,13, 1-19. To see the digital collection, visit DigiNole.
Le Moniteur Universel was a French newspaper founded in Paris under the title Gazette Nationale ou Le Moniteur Universel by Charles-Joseph Panckoucke. It was the main French newspaper during the French Revolution and was for a long time the official journal of the French government and at times a propaganda publication, especially under the Napoleonic regime. Le Moniteur had a large circulation in France and Europe, and also in America during the French Revolution.
We’ve been steadily working on digitizing the run of Le Moniteur that we hold here in Special Collections and Archives for about a year now (how time flies!). We’ve provided access to the publication through the end of 1808 in the FSU Digital Library. Our run of these papers starts with the founding of the newspaper in May of 1789. So, we’ve loaded 20 years worth of the publication or over 7300 issues! We still have quite a long way to go but we’re happy to be providing online access to a publication that supports scholarship here at FSU through the Institute on Napoleon and the French Revolution as well as beyond our campus.
Special Collections & Archives maintains an Omeka instance mostly to be used with the Museum Objects classes that use our physical exhibit space periodically and also need to include a digital exhibit with their work. Our hope is that someday the FSU Digital Library will be able to handle the digital exhibit needs for these classes. However, for the moment, Omeka is our tool for this need.
We were approached a few months ago by a professor looking for a new home for his Omeka site that classes had used to collect information and share his student’s work from Religion classes at FSU. As these collections fit in well with the collecting areas of Special Collections & Archives, particularly as we expand our collections of local religion institutional records, this Omeka site was a good candidate for migration to the Special Collections Omeka instance.
Happily, Omeka provides a plug-in that allows for the migration of materials between Omeka instances to be a fairly painless process. The site has been migrated (mostly) successfully. A few lingering problems with video files is being working on by the professor and some Library IT staff. In the meantime, enjoy this new addition to the FSU Special Collections & Archives Omeka lineup, Religion @ Florida State University.
We also started a long-term digitization project with Le Moniteur, a periodical from our Napoleonic collections.
Collaborative digitization projects were also started with the department of Art History, for which half of the John House Stereograph Collection is now available online, and with the department of Anthropology where we hope to have materials to share online soon!
All in all, we added 6,026 objects to the digital library this year which encompasses thousands and thousands of digitized book pages, letters, photographs and 3-D objects.
It has been a busy and rewarding year as we keep growing how many projects we can take on each year. We’re already working on new projects for next year so stay tuned for what comes next!
Archives Month is when we shout from the rooftops about archives; what are they, what do they have and why you should care. Here at FSU Special Collections & Archives, we participate in #AskAnArchivist day and put together other activities as we are able each year. However, we deal with the most obvious question people could ask 365 days a year…what does an archivist do?
For me, that question is usually a double head scratcher because not only am I an archivist, I am a digital archivist. In my daily work, that is really broken down into three main areas of work: digital project management, digital library management and born-digital material management and preservation. All of which are still probably Greek to you so let me explain.
Digital Project Management
No one told me when I went to get my MSI that I should have probably worked on becoming a certified Project Manager too. Instead, I’ve had to learn by making lots of mistakes as digital projects come through the Digital Library Center. Unfortunately, we have not come up with a magic way to digitize materials and get them into the FSU Digital Library so a lot of planning and then work goes into any set of materials you may find online. I enjoy this part of my work (it’s the organizer in me) but it wasn’t exactly what I thought I was signing up for when I became a digital archivist.
Digital Library Management
The FSU Digital Library grows in leaps and bounds each year and a team of us work on making sure it grows within our standards and in a way that keeps it useful and relevant for our users. Once a digital project is started, a lot of my work goes into figuring out a user’s needs when interacting with said material. What collection does it belong in? How does it need to be searched? What display would best suit the materials?
Born-Digital Material Management and Preservation
This is the part of the job I am still growing into and learning more about all the time. It’s the part of archives a lot of us don’t know what to think about yet. But, take this fact and stew on it: The Word document you created today is a let less stable than the letter someone wrote 100 years ago. We know how to preserve and protect the paper. The Word document? We’re still figuring that out. As FSU Libraries moves into deciding how we’ll process, provide access and preserve digital records (including web content), I’ll be sure to share more about that aspect of my work on the blog!
So, at the end of the day, I usually tell people that a digital archivist is someone who gets to live in the best of both worlds; I get to handle and work with the cool old “stuff” but also work with all the cool 21st century gadgets which help archives to make these items more accessible while also dealing with any other 21st century document problems the archives wants to throw at me. Bring it on!
Serious drama began unfolding in October 1972 in the lead up to Florida State University’s homecoming week. As reported in the Florida Flambeau, students had an unconventional choice for Homecoming Queen: Ron Shank.
Mr. Shank’s candidacy for homecoming queen stirred up plenty of controversy. Administrators balked. Rallies were held in his support. Lawyers were consulted. In response to Homecoming Committee chair Dr. Marshall Hamilton’s comments that Shank was destroying the dignity of Homecoming, an commentor wrote:
On the contrary, Dr. Hamilton, we think Ron might enhance the dignity of Homecoming. He certainly appeared dignified in the picture in yesterday’s Flambeau. Such pomp and outright elan–if you will–certainly couldn’t harm the ceremony.
One person even wrote in to express his fears of a racist conspiracy being afoot; Mr. Shank merely being used as an excuse to cancel the entire homecoming court, which had had African-American Queens the previous two years.
Conspiracy or no, that’s exactly what happened. The Homecoming Committee declined to have a Homecoming court for the year of 1972, and University President Stanley Marshall elected to not get involved.
Let’s close with some words from the man himself:
I ran for Homecoming Queen because I don’t believe in parading Women (or Men) around on a stage under the auspices of a beauty contest when physical beauty is only a minor part of a person’s true beauty and definitely not the sole criteria of one’s worth.