hollywood home to a japanese-american camp in wyoming. while at the camp, he took numerous photographs that doesn'ted the day-to-day life of the japanese-americans held there. ..

>> how about a man leaning over and kissing a woman in times square in new york on victory day. or maybe you would prefer politics. how about churchill, stalin, and roosevelt sitting down together. maybe that image. maybe you would rather think about something from the america of that era are it roughly. maybe a little bit earlier. the great depression. try to get an image in your mind of the great depression. if you are having trouble, think of it tired, worried looking young mother, staring off into the distance with a ragamuffin child leaning on each shoulder. can you find that famous, iconic image in your mind? the iconic photograph that we have come to call my grandmother

that has come to symbolize the great depression. it is very likely, as i have done this with you just now, that the images that you conjured up in your mind have been in black-and-white. think about the same exercise. finding your mind an image of the japanese imprisonment during world war ii time. were you picturing? does it look like this? a bunch of young, japanese-american girls into monos. dancing. this is a photograph taken by a government photographer at the granada relocation center, also known as [inaudible name] in august 1943. if this isn't what you had in

mind, what is different about it? it is a photo of young american citizens dancing. celebrating the spirit of their ancestors in the summertime buddhist ritual. maybe it wasn't so open. after all, it was at night. this was happening at night. there is a surreptitious quality to this. well, this is a photograph here at heart mountain. it was taken either in july 1943 or july of 1944. we cannot be sure which. one or the other. it is daytime. nothing suspicious about it. nothing surreptitious about it.

in the background you can see that it is taking place in an open, public space within the residential area of the camp itself. check this image out. there we go there is something else that is special about this image it is in color. it is actually in color. brilliant, beautiful color. take this photograph in for a moment. it is another shot at the same event at heart mountain. it was taken by one of the internees in camp. just check that out and then look at that. with the color restored. what i have done is taken color photographs, and i have removed the color so that you can see them the way we are accustomed to seeing him. and you can see it the way it

was shot by the photographer. i wanted to take a moment and ask you what the impact is. i would love to hear a couple of comments from you. what is the impact of seeing this historical moment in color, rather than in black-and-white? a couple of you may put into words what the differenceay be of seeing it in color as opposed to black-and-white. >> i don't know if i can put it in words, but they felt warm to me and i smiled. >> any other reaction to color rather than black or might? yes, sir? >> in color, it makes it seem a little bit more present as far as time goes. the black-and-white shows that it happened a long time ago. >> this and uncensored dustin is there is something about black-and-white. there is something that marks it in history. where is the color makes it feel

a little bit more current. are there any other suggestions? >> [inaudible question] >> it gives you a feeling of happiness and that everything is fine. >> [inaudible question] >> it looks kind of dangerous, somber, dark versus real. absolutely. spontaneous versus staged. definitely the black-and-white propaganda by something that seems authentic and is at that moment. these are all wonderful suggestions. let's hold on to all of these. i think it is an important scene of this product. this book called "colors of confinement", of which this is the presentation.

if you think about not just the episodes that we are treating, the incarceration of japanese-americans during world war ii, but also the way we interact with it and see it in the way these representations communicate meaning to us. i want to volunteer a few of my own observations about what is striking about this photograph. one of them is just the beauty of the subject. the beauty of the subject. i am not just talking about their components, which are gorgeous. there is a beautiful energy for these young women. they are delighted, and they have humor. the lighting is not perfect, but the woman in the red key mono with a white flowers, turning to her left, and the look of what can only be described as amusement. obviously, something very funny

has been said when this photograph was snapped to life, humor, there is a playfulness and the interactions in this group. this is unusual. what we are accustomed to seeing his images of cheeriness and bleakness. depictions that on their service communicate in justice. think if you are familiar with it of the very famous photograph of three boys standing and looking across wistfully across a barbed wire fence. a black-and-white image. that is the classic image of japanese incarceration. this is something quite different. notice the contrast between the beauty of the subject in the bleakness of the backdrop.

the dry and parched grounds that they are standing on. the jury tarpaper barracks that they lived in. the mess hall where they ate their meals. notice again, something suggested in the earlier photograph, the openness of japanese culture. this is something that we are very unaccustomed to. in the imagery of this era. it's hard to see in this light, but don't miss -- look at the young lady in the purple. she is facing just to the left of the woman who is laughing and smiling. she is wearing saddle shoes. if you look down at the bottom, she has on saddle shoes. this is not a depiction only of japanese culture. there is something culturally complicated going on here. given the ages of these subjects, we can be certain that if we could listen in on their conversations, they would be

seeking unaccented american english that they speak. there is something culturally complicated that is being documented. i love this photograph. this one shows the cultural blend that i'm talking about. in a very beautiful and humorous way. it is the summertime buddhist ritual, a celebration of ancestry. we have a young woman dancing, over her right shoulder, a man with a headband is dancing. then on her left shoulder is a man or woman who has dressed up as some kind of fanciful bird or dragon. do you see what they used to make the costumes? they used cereal boxes from the mess hall kitchen. the white plate in front is a rice crispy box. the one above it is something

called [inaudible name]. does anybody remember that serial? [laughter] [laughter] there are layers of cultural reference here. you have a japanese-american dancers engaging in a japanese dance in an american prison camp, making a costume out of boxes of american serials and the american cereal that they chose is rice crispies, which is a concoction based on a staple of the japanese diet, which is rice. there is one other thing about this photograph that is a little surprising. besides the fact that they are in color, besides the fact that they show japanese cultural activities rather than american cultural activities, but i want to give you a hint. it is not in the frame.

there is something a little bit startling about the photograph and it is not the same. any ideas about what i may be referring to? >> yes? >> it surprises me that people are -- that cameras were allowed in. you'd think there would be more security involved. >> exactly. the thing that i'm alluding to is what is outside the frame is a photographer. somebody was taking this photograph. with the camera, and he was a japanese-american prisoner at this camp. that is worth noting, too. we are usually led to believe, and it was true at certain points, that cameras were contraband. why would a japanese-american have had a camera? why would he have felt comfortable shooting photograph out in the open like this under the guise of the administration?

i will say a little bit more about that. but for right now, remember that somebody is taking these photographs and there is a lot more going on in this place of confinement than what you see in these photographs. the photographs are a snapshot of the subject. but there is an entire world that thrives on trent surrounds that subject. what i would like to be with you today is share with you and introduce you to this very rare collection of kodachrome photographs. ordinary life here at heart mountain. i also want to introduce you to the photographer and his family and give you some sense of what was going on outside of the viewfinder. outside of the cameras lens. this is bill manbo. he is the photographer. bill manbo was born in riverside, california, in 1908.

he was an american citizen and born in the united states. therefore under the 14th amendment, a citizen by birth. he went hollywood high school. he was in the class of 1921 at hollywood high school. he went off to the frank wiggins trade school to study to be an auto mechanic. he graduated in 1923. he opened up a barrage in hollywood. he liked model racecars and he loved photography. he was an amateur photographer. he also developed an alias for himself. that he used at times. his name was bill manbo. he developed a french version of his name that he would use. he would refer to himself as

pierre manbeaux. he actually changed the spelling to be more french. in his spare key has built a little foyer with plywood in front of the door and arcing artistically across this little entry way is the name, pierre manbeaux. he was a clerk there. he was such a character. next to him is his wife. bill manbo's mother-in-law. they were both from japan. he had trained as a mechanical draftsman, but the number of different jobs when he came to the united states and ultimately took up farming in the mid-1920s in norwalk, california on southeast of

downtown los angeles. the pilot had three children, on the right is their youngest child, that is eunice. she was about 16 or 17 in this photograph. on the other end, the left is mary. who actually became mary manbo. then we have the little grandson, bill and mary is the son billy. billy came along in early 1940. this was probably shot in sumner around 1943. he is about three years old where he is clutching his toy airplane. mary went to the frank wiggins trade school as well. that is where she met bill. she was studying to become a seamstress. she became a seamstress and that

costume design for theater companies among other jobs. then there was a third child, sammy, a boy. by 1941, sammy, who is not pictured in this photograph, but you will meet him later -- he was at uc berkeley in the our oct program in 1941. eunice was in high school at the time. jinzo had done some accounting work for a japanese language school. as a consequence of doing that, doing that accounting work and being affiliated with the japanese school, he was arrested in march 1942, several months after pearl harbor, and he was moved to a federal justice department camp are enemy aliens. he was held there through may of 1942. when franklin roosevelt signed executive order 9066, sammy, the

son, left berkeley and came back to norwalk. he came back to the farm to try to help his mother, rio, in the absence of jinzo, who was locked up in the camp. he helped her gather and conclude their affairs. including arrangements for their farm. they were farmers in one of their most valuable crops was rhubarb. the rhubarb crop was not yet ready to harvest for that year. the rhubarb is a printing plant. its roots are very valuable. sammy, being ready to be excluded and removed to the coast -- negotiate the contract, signed the contract with their white landlords on the farm. a speck of an agreement that the limo will care for the rhubarb, it's going to market and harvest the rhubarb and will share in the profits with the family in

camp. the duration of the war, and then at the end, the contract would terminate at the end when the family returned. that was the arrangement that they struck up with a win lord. there are a couple of buildings and property that they owned as well, and the lamb would agree to take care of those. they are forced out in march of 42. and they go through cambodia -- then they are sent to heart mountain. here is a photograph that build manbo took of his wife and little son, billy. tran-fours to their backs. looking out across the camp. looking at where we are today. you should know that the very

first train load of internees arrived here some years ago yesterday. seventy years ago yesterday. august 10, 1942. heart mountain was ran by the war authority, a civilian agency set up specifically for the purpose of running these camps. >> [inaudible question] >> executive order nine oh 066. -- nine zeros 6066. it was the third largest city in wyoming. what an unfamiliar place it must've been two people from temperate california. check out the icicles from the eaves of that pair, right.

there was a day in 1943 with a high temperature was 30 below zero. that was the high teperature. now, bill manbo was a hobby photographer, and he was not a professional or a documentarian. he used his camera, for the most part, the way to you and i use cameras. he tried to capture things that struck them as beautiful or interesting. here he has a rainbow, obviously, in better lighting you'd see it more vividly. you saw a rainbow ending at a latrine building, where all rainbows and, of course. [laughter] >> a pot of gold or a pot anyway. a few. thank you very much. [laughter] >> well, here is a man with a camera. why did he have a camera? the reason was because of this global rotation for a combo

which unlike the military was staffed by people who in the context of their time were progressive. they figured out that the cameras would be a good thing for internees to have. it would be enough for mentally good thing for japanese americans outside the coastal strip to be allowed to reclaim their cameras if they had surrendered them as contraband. why? because it is a way of feeling normal. it is a way of doing what we all do. documenting your experience and taking pictures of your families and your children. taking pictures of events. the camera, it was recognized as an instrument of adjustment. for the incarcerated community. after about march of 1943, japanese-americans off the west coast, not a tule lake, but

camps outside of the western defense command, were allowed to reclaim their cameras. that is why bill manbo had a camera and was comfortable walking around with it in public. each operates, the iconic -- the boy scouts, right? boy scouting was very active. you have the boy scouts and the head of the parade with the american flag and the drum major out with a baton just behind. a classic american image. not maybe a content another classic image. sumo wrestlers, sumo wrestling was practiced openly here can't. very much again like the dancers. japanese culture with the permission of the war relocation authority. there is something -- if you can see the faces of the folks behind, this is clearly a very light moment in this particular match. it looks as though the older gentleman has just been successfully pushed out of the ring by the younger guy. there is, you know, cultural

historians might see some interesting comic relief going on. because there was a fair amount of unspoken intergenerational conflict at the camp between immigrant generation and the citizen generation. there is a way in which the young man pushing a older man out of the way, had a certain tension breaking humor to it. little billy gets an ice skating lesson. people would order isolates from montgomery ward and sears roebuck, which is where they got a lot of their belongings ice-skating became a very popular activity. swimming holes as well. the splash of a diver, having come off the diving area. this swimming pool was built after a young boy drowned swimming illegally in one of the irrigation canals.

one of tran-fours's movie theaters, people lined up for a matinee showing. if you look carefully at the right side from you can see black curtains that have been hung in the windows to darken the spirit structure so that the film can be shown in the film that was shown that day, there is a blue-ish time that says peter, and the film is so well preserved you can actually read what film is being shown. somewhat ironically, they were showing how green was my valley that particular day. [laughter] [laughter] bill manbo used his camera to document newsworthy events. like a fire in a mess hall. these are men on the roof who are trying to control a mess hall blaze.

there are all sorts of layers and meanings. one of the things to note is held self-sustaining community needed to be. it was providing fire protection. with the cooperation, of course, of the location authority. internal policing was largely an internee run enterprise. when my favorite photographs. bill manbo love the landscape. and he loved using his camera to capture the various hues and moods of the camera. this is a shot at dawn. there is a single light. there is a second baruch in on the right, there is a single illuminated window, that is the only light you see other than those dangling from the light posts. the snow -- smoke coming from the chimney. if any of you are photographers, you will be impressed no that the asa speed of the film -- the

kodachrome was 10. so to capture a photograph like this at dawn with the 10 asa film, he was not about photographer, bill manbo. he loved to shoot portraits, too. mary and sammy, his wife and son, brother and sister. very striking, very handsome photograph of his wife and brother-in-law. he especially loved shooting photographs of children. as we all do. billy, his little son, -- leaning to one side in a military cap. it might be a marble or something else they are playing with. this is a little group of children who are little but ragtag looking.

but adorable sitting in front of the barracks. that is billy on the right with the blue hat and cautious. little baseball bat, the little mini baseball bat looking thing. that is billy. that is also billy, eating an ice cream cone. one of the things we can see bill manbo doing with his color film and his camera is doing what most japanese-americans were not able to do, which is to use the camera to try to create and bring together some sense of a normal family life. taking pictures of their children is one of the staples of normal family life. that is what he was doing with this camera. there was a certain way -- photographs of being the family album, so many that japanese-americans don't have from this time period. that is a portrait of billy. let me show you another one of billy is a portrait. it is kind of different.

what would you describe is the difference between last portrait and this one? >> desolation, i am hearing that -- survival. i'm sorry? monochromatic. it is a bit better with the lighting, but it is fairly monochromatic for a color image. what i am trying to get here do here is that bill manbo may have mostly used his camera in ordinary ways, but there was clearly something going on or bill manbo. at times, he was documenting something he was commenting on -- the bleakness and isolation and an alumni of the surroundings and seclusion of the surroundings. it is unmistakable in an image likeness of little billy walking up the avenue past the piles of coal in the barracks. how about that image? what is this a picture of?

>> guard tower? >> it is a guard tower. he could've taken any number of photographs of dirt structures around him. it is impossible to read a photographer's mind. but it's very hard for me to believe that was not -- he wasn't commenting on surveillance. that is the central image of this photograph. that is the focus. it is the guard tower on the hill looking down on all of them. >> [inaudible question] >> that is a mess hall. yes, that is the mess hall. how about this portrait of childhood? >> this is not exactly the way that i have taken pictures of my children, clinging to barbed wire. bill manbo had documentary instincts, of course. we can see a keen awareness of surveillance and confinement. there is only one image in the collection that is shot of an overtly political moment.

it is this one. there is heart mountain in the mountain background. the high schools in the background and an enormous crowd has gathered on a september afternoon in 1943. you can see there are folks who are protecting themselves from the sun with umbrellas were parasols. this is the moment when the people who have failed the government we be loyalty test, that you may have heard about -- the so-called loyalty questionnaire that was administered in the spring of 1943. those who failed the test were shipped off from heart mountain and the other camps and sent to one camp that was being converted to a segregation camp. tule lake in california. this was a gathering to send off those from heart mountain who are being risk from heart mountain and being put on trains to be shipped off. the questionnaire is produced

far more -- because what one wr a official also mortality of loyalty. they ended up undermining the very thing that they were intending to gauge by asking insulting questions. i was able to find bill and mary's questionnaires in the records of the national archives. their anger and disaffection jumps off the page of those forms. when they are asked for their citizenship, the report american? when they are asked whether they will agree to swear loyalty to the united states, one of them said only minor gripes are restored. miriam said --

mary said japanese is my nationality. i'm not ashamed of it. the answers on the forms were looked at to determine whether they were or were not well. in the transcripts, the anger is palpable. the wr a understood better than the military did that japanese-americans often have good reasons to be angry and disaffected. ultimately, bill and mary were not on that train in september of 1943. heading off to tule lake. there is jinzo and rio. let's talk about what happened or that bill manbo's family towards the end. younis, when she turned 18, she left the camp and went to the

midwest and took a secretarial job. sammy left to do agricultural work and then he volunteered into the united states army. bill, the photographer, left the cleveland to find worin a factory there. toward the end of 1944, jinzo decides that he wants to see if he can get work in new jersey. at seabrook farms, which was a farming enterprise that was recruiting japanese-americans from the camp to come work. jinzo leaves camp in october 1944. he heads to new jersey. he is going to scope the situation now. at that point, sammy is gone, bill is gone, younis is gone. the only people left are real and mary ann little billy.

brio suffers what doctors call a nervous breakdown. she ends up in the camp hospital. for the rest of her time in camp, which is another year in camp, the mother and wife is suffering greatly. she is really unable to work. barely able to leave the barracks. something of an invalid for much of the rest of this period. jinzo comes back from new jersey and finds his wife in the hospital. so he decides not to go. not to take the family to new jersey, but to stay in camp and care for his wife. mary and billy end up leaving to join bill at the factory in cleveland. the only ones left in camp in 1945 are real and jinzo. they finally leave in september of 1943. just a month or two before the camp closes.

they head back to california to find the cruelest blow. they discover when i get that that the landlord, a few months after they left in 1942, plowed under their rhubarb crop. he carted off the buildings. those buildings are gone. they have nothing left. and the coolest bowl and turn blow of all, it turns out that the landlord didn't even own the land. he had been collecting rent from the entire family since 1937, but the property had exceeded the state in 1937 because the landlord hadn't been paying his taxes. the state had not come in and taken possession, but that landlord had no right to their rent from 1937 all the way through when they were forced out in 1943.

bill, who is in cleveland, injures himself at the factory with mary ann little billy. he decides to reopen his garage in hollywood. he is a little bit of an inventor, he creates a fish tank and an he never really returned to productive economic life. what about little billy? billy is now 72 years young. he lives in anaheim, california. he became a recreational parish unit. more than 1100 free falls in his career until he finally stops because of injury. guess what? he went to work in the aviation industry. [laughter] [laughter] he designed exit systems for

airplanes and ultimately went into operations for several major aviation situations. these color slides, these autographs better prints and not slides, sat boxed up in little billy's closet for decades. which is why they look so great. kodachrome has enormous staying power, particularly slides, they are treated properly. these are sat in the dark for six years. so they can be remarkably well preserved. the color colors are brilliant in the original book, as you will see. they really sat there until i learned of them when working with [inaudible name] on this museum. he sent me a few color photographs, including the one of the young women standing and gathering in their kimonos. i had no idea that such images existed. bill junior gave me his

permission, about one third of these autographs -- the question is about 180 total. one third now appear in the new book, "colors of confinement", along with interpretive essays by several scholars, myself, the university of southern california and jasmine, who is an art historian of photography at the university of wisconsin, milwaukee. a very lovely essay about what it was like to be a youngster in camp. i want to conclude with the image of the cover of the book. you will see that the book that i chose to you, the image of the young women and their components. and i want to share with you that i struggle with what the cover of the book image should be. i went back and forth between this image and the image that is now in the back of this book, which is the image of little

billy clinging to the barb wire fence. i decided to go to this image, but with trepidation. because somebody earlier, when they were asked about color, initially i asked about color, and people said things about warmth and happiness. >> thank you. >> people said things about warmth and happiness. there certainly is warmth and happiness in that photo. there is no question about it. those smiles are not fake and they are not even doing it for the camera, really. they probably know that the photographer is there. this is it anything like a flash portrait. i was concerned that this image could lead people to think that these were happy places. but these were places of joy. joy and frivolousness.

and that these people were really japanese, rather than american. repeating the very categorizing mistakes that got the country into this whole problem in the first place. i ultimately decided that if you allow yourself to reflect on these images, and you inform yourself about the very tragic arc of manbo and his family story, which is represented of so many japanese american families -- you ultimately come to see that any concern that these were places of joy is no sicker than this paper on which the photographs are printed. thank you very much for your attention. i am happy to answer any questions you have. [applause] [applause]

>> i'm going to look at our timekeeper. we have time for a few questions? >> we will move it along. if there are a couple of questions or comments, we have time for this. >> they were actually -- they had to be shipped back to california. one of the things that will little billy has izzy has the mailers in which, you know, the envelopes in which the slides came back from the developer, the photo lab in california. they are addressed to rio spelled pierre manbeaux. [laughter] >> yes? >> i can say that when i saw that slide, i thought it was beautiful. the first two verses are so appropriate. when you talk about the political context of the one photograph that was so

political. when i think back on all the stuff i learned in high school, it's a wonder that i can think at all. my lack of education has not hurt me. i can be divided on the wall. you give us those nice, bright colors, greens of summer, it makes you think the world is also in a daze, oh yes. i got a nikon camera. i don't take my kodachrome away. [laughter] >> i'm glad you asked that. my aspect of the book really talks about manbo and his highest athletes. i had opened with paul simon's protocol. it was my very later. [laughter] kodachrome does make these things seem all the world a sunny day. but what the story is not so sunny? i think that is the central problem and the central challenge in the central delight of these color photographs.

>> yes, ma'am? >> [inaudible question] >> why did you find his personality -- you guys have done a great job, as long as they have a role of government within a confined space -- would we be better? >> it is a very perceptive observation, surely. billy was four years old when he left camp. he doesn't remember any of this. he has very fleeting memories. his family, as it was common among chapter japanese-american families, he never talked about this episode at all, really. he has no memory of this. he has no evidence. he remembers going around looking for rocks with his grandmother. he remembers little things like that. but he has no bitterness. he is a very quiet gentleman, very reticent man. and he doesn't speak extensively about any of these subjects.

but he is extremely happy that his father's photographs are coming to public attention. maybe one more question and then we can wrap things up? >> [inaudible question] >> after six years, it doesn't change in some colors? did you make a decision to not destroy them what they would have originally been to keep them be -- it's almost like a ceo? >> i encourage you to look at the images in the book itself. part of what you are seeing is the bleaching from the fluorescent lights. so the colors are more vivid. just a great question. the only thing we really did -- i worked in conjunction with -- the book is published with north carolina press. we work in the center for documentary documentary studies at duke university. i had the photographs scanned and photographed a very high-resolution. using a computer, dust was removed. not from the original site, but

the scanned images. perhaps a dozen of the photographs, the duke center study people ever so slightly, little bit of the contest, perhaps. for example, in that photograph of the movie theater, there was an enormous shadow in the front and the backdrop of the movie theater itself was in the brilliant sunlight. there were slight adjustments made to bring the foreground out into tone it down a tiny bit. mostly we are seeing them the way they would appear it they were sitting in one of the old fashion slide projectors that we probably all grew up looking at pictures on. i think that we should bring things to a close we can keep the program moving. thank you so much. [applause] [applause] >> this event took place at the heart mountain learning center. for more information, visit heart mountain.org. more from booktv's recent visit to columbus.

the capital city of ohio. >> my name is eric johnson and i am the associate assistant with the library of columbus ohio. we are here at the jan and jack creighton usha collections reading room, it fills up many books with a couple of divisions with the collections department. i am here to talk to you today a little bit about our collections, which are really rather expensive. to give you a sense of what kinds of things you can have with highlighting a few examples of things that i particularly like. some of them are also random, off the cuff selections. the first thing i'd like to talk about is the white whale. this is the one the bible. it is probably -- one of the

most substantial and beautiful items that we have in the library's collection. what this bible is is an example of an early 13th century transitional bible. what i mean by that is prior to the early 17th century, many will bibles, by and large, do not look at all like bibles as we think of them today. they tend to be in larger volumes and larger pages and even this. to have a complete bible, you likely would've had a bible in a multi- volume set, usually anywhere from 16 or 20 or even more volumes. in the early 13th century, a number of intellectual and cultural changes were happening. it necessitated the changing of a new type of bible. this bible, is resolve that. what happened in the early 13th century put things very simply. that you had the emergence of universities and you had the emergence of the fraternal

orders, the dominicans and friends systems. one, let's take universities first. the bible became essentially the core textbook for all fields of study. what they needed, in that case, when a lot of people are trying to use the same technology, something a standard during the period where we do not have the root tentacle luxury of her printer for our books. what happens in the 13th century is that they start to develop new ways of packaging the bible. it coalesces into a single volume, and you start having coherent and consistent ordering and so it begins with genesis and ends with apocalypse. other things began to happen. certain facets of the early medieval bodies -- for instance, if you look at this distance here, you can see all of these

all of these -- woman no morals. this is a capitulated list. this is the number that had been assigned over the course of history in the early medieval period. what happens is these old numbers start to fall out of fashion. if we look at this, we can see an example of this happening in the bible itself. these color numbers, these numbers in the margins of the old traditional chapter numbers. however, we can see that these have been crossed out, likely by other blemishes or ink, and a new chapter numbers -- in this case, chapter 51 has been numbered to chapter 22 now. we have one version in ink and plummet, or pencil, and what is going on is that the old

traditional chapter numbers are giving way to the new 13th century style of ordering the chapters of the bible. essentially, these chapter numbers are the same chapter numbers that we have seen when we look at the bible today. the bible is extremely significant for a number of reasons. it was created somewhere between 1210 and 1220. it survived until 1981, at which point it was sold at auction in broken bites purchasers immediately. the leaves were then distributed for tax purposes and sold off piece by piece. sometime in the early 1980s, off ohio state came in through donation of roughly 150 to 160 of these leaves. over the last few years, it has been somewhat of an obsession for me to try to piece together his money pieces as possible. we are now sitting at approximately 100 or 180 out of

an original 440 are at ohio state. this one, or actually, these two, i guess i should say -- are the newest additions. this illuminated feature includes [inaudible name]. one right next to it that we acquired in april, we acquired in may. what i am trying to do is reconstruct this, not just because we are to have a lot of it and it would be a nice thing to do, but because, for all purposes, the different changes that we see working in this manuscript. they constitute what we would call a missing link. this is a fundamental step in the transition and evolution of the medieval bible from the early medieval period what we now know and think of as the bible. it is extremely important to the witness of the production of the bible. i would encourage anyone to get

in touch with ohio state. you may have a lead on your wallet. this is actually a late 14th century copy, probably from circa 1375. what this essentially is what is called a legendary collection of same place. the text itself, while significant, wasn't a popular and the reason we are showing it to you today is not because of what the words have been, but because this little guy right here. this is an original medieval bookmark. as you can see, it is still bound into the original binding. original late 14th century binding and deerskin overboard. what is significant about this is i don't have an exact census for you. but there are an extremely low numbers number base for these

books and bookmarks. they are not bound into strings or pages, but this is a significant and fun object for more reasons than the fact that it is rare. this is what i really would like to call an example of medieval hypertext. as you can see, it could be really hard to read in the middle ages. you have a tightly packed condensed text. the colors that are operating are serving not just as decoration but punctuation. modern systems didn't really develop as we know them now until the late 16th century. medieval readers and writers would employ different colors in order to help them navigate their way through the text. in spite of any sort of help, the whole process of reading one of these books could be very difficult. they created other forms of readers, and this bookmark is an example of this. i will show you how it works right now. step one, this is very much like

any modern bookmark that we can think of today. it's on a string and you display the string and end it will mark the page opening. however, you will notice that there are four columns on this page. well, this would be the first, second, and third and fourth column. if you take your bookmarks, you will notice one has a lovely little drawing on it. and ink drawing. you will notice that it spends. this is what is called a [inaudible name]. we will drop this one and stop it right here and market there. now, what this is telling us is that the reader is on the fourth column. not the first or second or third, so we have two steps. page opening or column marker. i'm not going to do this because it gets extremely fragile, but

you will notice this, not right here. this little monsters between my fingers is actually in use of sorts. it would allow you to move this bookmark up and down the string. that would allow you to then not only mark the page opening in the column that you are on, but the exact position within the column you have stopped reading. it's a very creative way that medieval people developed in order for them to navigate their waste through the text. there are other examples, but this is the first one that we have at ohio state. it is a very popular feature of this late 14th century manuscript. i am sure that most of you, if not all, know who martin luther is. martin luther is considered the father of the modern protestant church. all its branches. the history of martin luther and the fairest terms -- the 15th 17 martin luther put 95 [inaudible] on the church door.

this starts what's going to become a raging firestorm. they flee across the landscape of europe. needless to say, the powers do not like luther's challenge to authority, particularly, he is challenging the whole system of indulgences, whereby people could buy time off for purgatory and for their sin. there is a lot of back-and-forth between martin luther and the catholic church. especially during the next two two to three years. luther participates in a number of adventures with catholic authorities. but no common ground is being met. in 1620, luther begins what becomes the final breaking between this new protestant movement and the roman catholic church. he issues pretexts. as i mentioned earlier, ohio state has the herald grimm collection. it consists of over 600 different titles, or probably approaching close to 700 or more

of the state. chronicles really -- every aspect of the german reformation and ohio state is extremely lucky to have probably what could be considered three core texts of the early german protestant movement. these were all written by martin luther in 1620. this first text was august, 1520. this is authors address. in this book, luther lays out a doctrine that may become one of the foundational tenets for private protestantism. in quick terms, what this dictates is that your personal relationship with god need not be mediated by a priest. discharges all christians to actually take their own salvation into their own hands. the second book, next to it, is

on the babylonian captivity of the church. this was probably luther's most antagonistic text of the 1620s -- this was issued in august -- excuse me, october, 1320. in this, martin luther essentially attacks the structure of the roman catholic church. he pays attention to redefining the understanding of the eucharist or the lord's supper. baptism and also the doctrine of tenets. perhaps most antagonistic -- this was the first printed occurrence of luther actually calling the pope the antichrist. there is really no going back from that point. the third text is november 1520. this is on the freedom of the christian ability. in this text not, we have a nice