These three liturgical rolls contain the full text and music for the chants recited during the processions associated with the Rogation Days. The rolls, which follow the Ambrosian rite, are the only surviving examples from the Middle Ages of the text and music they preserve. Although rolls were commonly used in the Middle Ages for liturgical purposes, and there are specific references in literary sources to the use of processional rolls in the Ambrosian rite for the Rogation Days, few liturgical rolls of any type survive, and these are the first at Yale. They are written on parchment, wound on wooden sticks, and protected by leather covers.

Commonly attributed to St. Augustine during the Middle Ages, this set of rules was adopted by many communities of secular canons and frequently reprinted in the 15th and 16th centuries, often, as here, with annotations and commentary. This volume, printed by Martin Schott, is illustrated with a suite of woodcuts depicting St. Augustine teaching and in prayer. The blind-tooled pigskin binding appears to be contemporary, as is the delicate coloring of three of the woodcuts.

Juvenal's Satires, widely read in medieval and Renaissance schools, survive in many manuscript copies. A particular favorite of Tom Marston's, Juvenal is perhaps the best represented ancient author in our early manuscript collection. This elegant manuscript is a particularly noteworthy addition to our holdings, as it has a richly illuminated frontispiece, a contemporary blind-tooled leather binding, and the annotations of a 15th-century scholar--text critical emendations as well as notes and glosses on Greek words used by Juvenal.

This collection of treatises and letters was assembled and copied by Francesco Baroncini, a Florentine humanist and member of the first Florentine academy. The manuscript opens with Bartolomeo Fonzio's translation of a speech purportedly made by Demosthenes to Alexander the Great. Fonzio dedicated the work to Baroncini, the scribe of our manuscript. Also present are Italian translations of two works by Marsilio Ficino, the leader of the Florentine academy, and letters to and from Ficino about the translations. Both the translations and the letters are unique to our manuscript; they are neither recorded in the scholarly literature nor published.

One of the leading Latin poets of the Silver Age, Valerius Flaccus was especially popular in the Renaissance for his epic on the adventures of Jason and the Argonauts. This edition of the work, an impressive early product of the Giunta press in Florence, has extensive manuscript annotations to the first five books by a contemporary reader. The volume is preserved in an early 16th-century tooled leather binding.

Plautus. M. Acci Plauti Comoediae . . . Ex recognitione Francisci Guieti Andini, opera et studio Michaelis de Marolles, Abbatis de Villeloin. Paris, 1658.

This first French translation of Plautus, by the prominent scholar Michel de Marolles, includes both French and Latin texts on facing pages. Two years later, Molière turned to Plautus for inspiration for his Amphitryon (published only in 1668). And in 1668, Plautus was again his source for one of his most famous works, L'Avare. Molière had been educated by the Jesuits at the Collège de Clermont (which survives today as the Lycée Louis-le-Grand) and was a good enough Latinist to have undertaken a translation of Lucretius. He must therefore have been familiar with Plautus in the original Latin. The publication of Marolles's translation, however, may have at least triggered his interest in the Latin comic author.

With the addition of this compilation of works by Rochester, the Osborn Collection becomes the possessor of the two most significant contemporary manuscript collections of verse by the outstanding poet of the Restoration court. The Hartwell Manuscript, devoted almost exclusively to Rochester, shows a serious attempt by someone within a few years of his death to compile an authoritative collection. The manuscript has been completely unknown to Rochester's editors.

John Wilmot, second Earl of Rochester (1647-80), who managed to render himself notorious by his rakish life of drinking, womanizing, atheistical raillery, and general debauchery, was undoubtedly the wittiest and most brilliant poet and satirist of the court of Charles II. Regarded today as a writer of considerable genius and complexity, he was generally associated in his own lifetime with scurrilous and obscene lampoons, which circulated for the most part in manuscript copies. With his premature death in 1680, celebrated at the time by virtue of his deathbed conversion and repentance, an edition of his supposed poems was rushed through the press. In this edition, poems by Rochester are mixed with poems by his contemporaries; the scholarly task of disentangling Rochester's genuine works from a host of others spuriously attributed to him continues to this day.

First edition of one of Bunyan's most popular evangelical book, published in the same year as the Pilgrim's Progress, and hardly less successful. It ran through at least eleven editions before 1700, four of which are at Yale. There were no doubt many more, including piracies, but the book was evidently read to death, and very few, as a result, survive.

Quintus Horatius Flaccus. Opera ad optimorum exemplarium fidem recensita. Cambridge, 1699.

By the time he died in 1745, Swift owned two Horaces, one of them Pine's engraved "collector's edition" of 1733-37, which came to him as a gift, the other this handsome Cambridge edition by James Talbot. We know that he owned "an old musty Horace" which he discarded as early as 1698 and an Elzevier edition, which he also disposed of, as well as a bilingual edition with the Philip Francis translation. The one he demonstrably "used" is the Cambridge quarto. He acquired it in March-April 1711 at the posthumous sale of his friend Charles Bernard, a surgeon and collector. Four of Swift's six Horatian imitations were composed shortly afterwards. In addition to his microscopic signature on the title page, the book contains seven marginal glosses in his hand, about twenty-eight pencil ticks, probably indicating words to check, and two bibliographical references which may be in Bernard's rather than in Swifts's hand.

The book is listed in the catalogue of the sale of the library of Jonathan Swift, which took place after his death, with the asterisk indicating the presence of marginal notes. The buyer at that 1745 auction is unknown, but may have been Swift's friend Robert Jocelyn, first Viscount Jocelyn, since we have evidence that it later belonged to Jocelyn's son, the first Earl of Roden. It remained in the hands of the Roden family at Tollymore Park until the dispersal of their library in the 1940s, and has been in private ownership since.

The Native American section of the Betsy Beinecke Shirley Collection of American Children's Literature includes more than 500 titles, among them classic works by and relating to George Catlin, Davy Crockett, John Eliot, Grace Moon, Asher Wright, and the Jesuit mission presses, especially the St. Ignatius Mission Press in Montana Territory (1876-98).

The greatest of the early treasures are the Brinley copy of Cotton Mather's The Triumphs of the Reformed Religion, in America. The Life of the Renowned John Eliot (Boston, 1691; Wing M1163) and Lutheri catechismus, oefwersatt pa American-Virginske Spraket (Stockholm, 1696), the translation made in 1646 by Johannes Campanius of the Lutheran cathechism into the language of the Indians of Virginia, followed by a Mohawk-Swedish glossary. Present in the volume is the rare folding map, drawn by the Swedish engineer Pehr Lindhestroem in 1654-55, and said to be the earliest general map of Pennsylvania (then known as New Sweden).

Other notable titles are the first edition of David Zeisberger's Essay of a Delaware-Indian and English Spelling-Book for the Use of the Schools of the Christian Indians on Muskingum River (Philadelphia, 1776), the first children's book written by a resident of what is now Ohio; Cherokee Hymns Compiled from Several Authors, and Revised (the fifth edition, printed in Union in 1835); and near-complete runs of four important Indian newspapers published by the students of the Indian Industrial School at Carlisle, Pennsylvania: School News (1880-83), Eadle Keatah Toh (1880-82), The Morning Star (1882-84), and The Red Man (1888-1900). Also in the collection are primers, vocabularies, catechisms, and service books in Assiniboin, Cherokee, Choctaw, Crow Indian, Dakota, Eskimo, Kootenai, Mohawk (notably A Primer, for the Use of the Mohawk Children, printed in London in 1786), Nez Perce, Ojibwa (Chippewa), Osage, and Seneca, among others.

Manuscript material includes "Dialogue upon the Brethens Mission among N. American Indians spoken by the second class April 18th 1795" [Bethlehem, Pennsylvania?], a vernal examination at Nazareth School, and a collection of letters by a Nicholas Ray in London to his brother Richard of New York (1756-57).

The original edition of one of the earliest publications of Christoph Martin Wieland, Briefe von Verstorbenen an hinterlassene Freunde (Zürich, 1753), a lyrical and didactic work written under the literary influence of the Swiss critic J. J. Bodmer.

Two works by Sophie von La Roche, one of Germany's best-known women authors, a friend of both Goethe and Wieland: Neuere moralische Erzehlungen (Altenburg, 1786) and Briefe über Mannheim (Zürich, 1791).

The last book of Karl Philip Moritz, Die neue Cecilia (Berlin, 1794), left unfinished by the author of Germany's first fate tragedy and several novels, as well as studies in aesthetics and psychology. The book is the second to be printed in Unger Fraktur and contains an essay about the newly invented font by the publisher, Friedrich Unger.

Cooper has evidently requested that Lafayette sit for a portrait by an American artist. Lafayette replies: "I am sworn to an indiscriminate refusal to every application for bust or portrait for two reasons, that my time does not allow it, and that Schiffer's portrait and my friend David's bust do perfectly answer the purpose. Yet when I think of a young talented American sculptor I don't know how to deny him and you."

This notebook contains a chronological outline of George Eliot's life, the first half in the hand of her friend Sara Hennell, the second in Eliot's own hand. She has inscribed it at the beginning: "This book was made & given to me by my friend Sara S. Hennell. She Entered as many dates as she knew of in association with my life, i think as far as 1853." Sara Hennell (who gives 1820 instead of the correct 1819 as the birth year) clearly intended the journal as a sort of biographical tribute. George Eliot kept it up until 1872, recording travels, operas seen, people met, and some of the crucial dates of her career as a writer ("Began 'Adam Bede'," "Book 1 of Middlemarch published," etc.). This unrecorded diary has now joined the fourteen other journals, diaries, and notebooks in Yale's George Eliot and George Henry Lewes collection.

The original 3-paged manuscript is accompanied by two letters from Pound in Rapallo, 7 May 1934 and 16 June 1935, to H. R. Hays in New York. In the first letter Pound writes: "I know of no good Italian anthology of contemporary verse. . . . There are three Italys now existing side by side. The Italy of Mussolini and his technicians. . . The Italian `intelligentzia', literati. . . , the Italian university faculties etc. `cultured Italy'. . . ."

These hundreds of typed letters to his second wife cover the most productive years of Broch's career as a writer and will surely become a central document in future studies of the Austrian novelist.

Les séquestrés d'Altona was Sartre's tenth play and can be considered his most powerful since No Exit (1944). It also was to be his last, if one excepts an adaptation of Euripides' Trojan Women in 1965. It was premiered at the Théâtre de la Renaissance in Paris on 23 September 1959 and published the following year by Gallimard, Sartre having in the meantime agreed to a number of cuts in the stage version. Altona is an industrial suburb of Hamburg and the play, set at the period of its composition, deals with a traditional German family's attempt--or rather failure--to cope with its Nazi past. This important fragment of the holograph draft is for Act I, scene 2, one of the crucial episodes, and contains numerous passages not included in the published text.

In 1942 Helen and Kurt Wolff, having fled Hitler's Germany, founded Pantheon Books, which published the Bollingen Series and such popular works as the American edition of Doctor Zhivago and Anne Morrow Lindbergh's Gift from the Sea. When Random House acquired Pantheon Books in 1961, the Wolffs were invited to join Harcourt Brace Jovanovich, where they had their own imprint. After Kurt Wolff's untimely death in 1963, Helen Wolff continued with HBJ until her retirement, overseeing Helen and Kurt Wolff Books until her death in 1994.

Helen Wolff's papers contain correspondence from the early 1950s through the late 1990s, financial records, readers' reports, and some manuscripts. These files reflect Helen Wolff's distinguished career as an international publisher based in New York and the friendships she formed with writers and colleagues. Among the correspondents represented in this archive are Joy Adamson, Hannah Arendt, W. H. Auden, Heimito von Doderer, Umberto Eco, Günter Grass, Arthur Koestler, Anne Lindberg, Konrad Lorenz, Ralph Manheim, Herbert Mitgang, and the family of Rudolf Serkin.

The Helen Wolff papers join the Kurt Wolff archive, which has been part of the Yale Collection of German Literature since 1947.

Leonard Baskin. Horned beetles and other insects. Northampton, 1958.

_____. Unknown Dutch Artists. No place, 1983.

Horned Beetles and Other Insects was the first Gehenna Press book to use etchings rather than woodcuts. The 34 etchings by Baskin are printed on various English, French, Italian, and Japanese handmade papers, and some early 19th-century Swiss paper. The small red interleaving titles were printed by Harold McGrath, with whom a fruitful and long-lasting partnership was thus launched. The only text is a short sentence by Darwin as an epigraph. Published in an edition of only 30 copies, all signed by the artist and bound in full leather by the Harcourt bindery, this is one of the rarest and most coveted of the early Gehenna Press titles.

Unknown Dutch Artists, printed in an edition of 17 copies at the sign of the Eremite Press, was actually never published nor distributed and is therefore one of the rarest and least known of the Gehenna books. Printed on a variety of English handmade papers, it is a "portrait book" in the classical tradition, with biographies and etched portraits of twelve imaginary Dutch artists. Its form and design prefigure two later Gehenna Press publications, Icones Librorum Artifices (1988) and Imaginary Jewish Artists of the Early and Late Renaissance (1993).