Category Archives: Special Collections

Giving Thanks for David Malone

David Malone
David Malone

At this time of Thanksgiving, we at Special Collections, Buswell Library, are deeply grateful for the service of David Malone, longtime head of Special Collections. In July of this year, David left Wheaton College to become Dean of the Library at Calvin College and Seminary in Grand Rapids, Michigan. While we are excited for him for this new venture, he is missed at Wheaton, and we wanted to take the opportunity to celebrate him and his service.

David was hired in 1991 as Assistant to the Head of Special Services at Buswell Library before becoming Head of Systems four years later. Later in the 1990’s, David became head of Archives and Special Collections, a role that combined his love for history, archives, and technology, with his talent for building relationships within the college community and visiting researchers. In 2004, he became an Assistant Professor of Library Science before being promoted to Associate Professor in 2012.

Some of David’s many accomplishments include:

  • Strengthening existing collections by collecting new materials, working with donors, collecting oral history interviews, and managing endowments;
  • Acquiring new collections such as the papers of Oswald Chambers and Senator Dan Coats, and the records of the National Association of Evangelicals (NAE);
  • Creating online and physical exhibits on subjects like the 1950 Wheaton Revival, the abolitionist history of Wheaton College, and the work of Margaret and Kenneth Landon;
  • Overseeing the digitization of materials including the collection of Allen Lewis’ prints and engravings, the Bulletin of Wheaton College, and Martin Luther’s 1517 commentary on the Psalms, Operationes in Psalmos;
  • Hosting and contributing to events such as the Shakespeare Institute, Treasures of Wheaton, the Muggeridge Centenary Conference, and the Wheaton College Sesquicentennial;
  • Implementing such digital initiatives as creating this blog, and various library tools including the archival information system Archon;
  • Collaborating with faculty to bring historical artifacts into the classroom, including closely working with Professor Emeritus of Anthropology, Dean Arnold, on his “Craft of Anthropology” course.

David is an exceptional librarian, team leader, and colleague, and Buswell Library has greatly appreciated his leadership and vision. We conclude our thanksgiving of his service with the reflections of two of his longtime colleagues, David Osielski and Keith Call.

“The majority of my professional career has been spent under the leadership of David Malone at the Special Collections of Buswell Library.  As well, both he and my colleague, Keith Call, were witness to many significant milestones in my personal life; welcoming the arrival of my four children, receiving my master’s degree, moving into our first home.  David is a visionary leader who sought to lead by example and empower his staff to greater heights of excellence.  He is a master storyteller and passed on his warm gift of hospitality and service to those under his supervision.  Wheaton College’s long 150+ year history is a legacy to be remembered, cared for and retold to the next generation.  David gave his staff permission to tell all of Wheaton’s stories well, tempered with grace and humility.  Over the years he gave us increasing levels of responsibility and empowered us to grow in trust and confidence in our abilities, even when making mistakes.  Thanks to David, we see ourselves as guardians of a unique story in God’s Kingdom called ‘Wheaton College’ and stewards of hundreds of unique special collections that help shape and guide the liberal arts curriculum for future students.” –David Osielski, Special Collections Coordinator

“Special Collections, including the College Archives, is the heart and institutional memory of the Wheaton College campus. Thanks to the leadership of David Malone, Special Collections not only expanded, but transformed into a friendly place where donors, students, and other visitors comfortably interact with historically significant manuscripts and artifacts. The material maintained in our storage facility is just that – material. However, as David often observed, these objects provide a catalyst for storytelling, whether it is Oswald Chambers’ personal Bible with his handwritten notes, or Charles Haddon Spurgeon’s bow tie. They reveal a bigger picture, a wider vista on the landscape of Christianity in which the library user becomes a participant. We salute David Malone for his years of service and vision. Like our holdings, the memory of his tenure is safely stored, carefully tended and ripe with meaning.” –Keith Call, Special Collections Assistant

We would also like to thank Brittany Adams, former Metadata Associate at Buswell Library, for compiling much of the above material.

The Drum and I

This exotic object might resemble the genie’s bottle from the 1960s TV comedy, I Dream of Jeannie, but it is actually a drum. In 1946 diplomat Kenneth Landon traveled frequently to Thailand, attempting to define how that country might integrate into the United Nations. One trip involved attending the cremation of the newly deceased king and the coronation of his brother. During the immediate post-war years many Thai experienced tremendousdrum difficulties after surviving the Japanese invasion of their land. Attempting to re-establish their influence, the Thai often exercised hard decisions, such as offering artifacts to visitors they trusted. One family claimed that their lizard skin drum with its abalone mosaics was authentic to the monarchy of either King Mongut or his son, Prince Chulalongkorn, both featured in Margaret Landon’s classic novel, Anna and the King of Siam, which was later reworked by Rodgers and Hammerstein into the popular Broadway musical The King and I.

The family offered to sell Kenneth the drum which they assured him was a prized possession.  He was able to ship the drum to Washington, DC in the diplomatic pouch, thus avoiding the complications of a private sale. Kenneth and Margaret’s son, Will, received the drum as an inheritance from their estate.

The papers of Kenneth and Margaret Landon are available for research in Special Collections, Buswell Library. Thanks to Will Landon for providing the artifact and information.

Thumbprints in the Clay

Luci Shaw, in her newly released book, Thumbprints in the Clay: Divine Marks of Beauty, Roder and Grace (2016), traces the “thumbprints” of an endlessly creative, ever-creating God. ShawInterspersing poetry with autobiographical essays, Shaw writes, “I knew I had to make this writing the centerpiece, the birth announcement of my spiritual liberation and purpose in God.”

In addition to her reflections, Shaw includes moving reminiscences of her friendships with novelist Madeleine L’Engle, with whom she wrote several books, and mentor Clyde Kilby, her beloved and highly influential English professor at Wheaton College.

Thumbprints in the Clay is published by InterVarsity Press. The papers of Luci Shaw, Madeleine L’Engle and Clyde Kilby are archived at Wheaton College.

 

When You Reach Me

Miranda, the saavy sixth-grade protagonist of Rebecca Stead’s When You Reach Me (2009), continually references her all-time favorite book, A Wrinkle in Time, as she faces her own baffling — and potentially deadly — time-travel conundrum in 1979 New York City. When You Reach Me is the 2010 winner of the Newbery Medal for Most Distinguished Contribution to American Literature for ChildrenStead. Stead writes in the Acknowledgments:

Every writer stands on the shoulders of many other writers, and it isn’t practical to thank of them. However, I would like to express my special admiration for the astonishing imagination and hard work of Madeleine L’Engle, whose books captivated me when I was young (they still do), and made me want in on the secrets of the universe (ditto).

Further commenting on the influence of L’Engle, Rebecca Stead says in an interview with Amazon.com:

I loved A Wrinkle in Time as a child. I didn’t know why I loved it, and I didn’t want to know why. I remember meeting Madeleine L’Engle once at a bookstore and just staring at her as if she were a magical person. What I love about L’Engle’s book now is how it deals with so much fragile inner-human stuff at the same time that it takes on life’s big questions. There’s something fearless about this book.

It started out as a small detail in Miranda’s story, a sort of talisman, and one I thought I would eventually jettison, because you can’t just toss A Wrinkle in Time in there casually. But as my story went deeper, I saw that I didn’t want to let the book go. I talked about it with my editor, Wendy Lamb, and to others close to the story. And what we decided was that if we were going to bring L’Engle’s story in, we needed to make the book’s relationship to Miranda’s story stronger. So I went back to A Wrinkle in Time and read it again and again, trying to see it as different characters in my own story might (sounds crazy, but it’s possible!). And those readings led to new connections.

The papers of Madeleine L’Engle are housed at the Wheaton College Special Collections in Wheaton, Illinois.

 

The Book of Second Hesitations

Many a youth minister and pastor has used the tried and true jokes of offering up to their congregations the funny, non-existent, names of books of the Bible. Second Hesitations or First Opinions has produced a good laugh or two as has the Book of Hezekiah. For good or ill, the use of these fictitious titles can also be used to differentiate the true believer from the casual one. The joke can at times backfire. Sometimes the joke isn’t a joke at all but reveals the fluidity of the Christian Bible.

ThirdKingsTake, for instance, the recent acquisition of the Book of Third and Fourth Kings in Buswell Library’s Special Collections. Your average Christian may pass over this title but someone a bit more familiar with the full canon of scripture may do a double-take. Third Kings? The songs of Sunday School go from Genesis through the Pentateuch into the historical books from Joshua to First and Second Samuel then on to First and Second Kings. There is no Third Kings in the childhood song, only Kings followed by Chronicles. This is where history helps us out.

Yet, the Book of Third Kings, or The Third Book of Kings, was how these books were known by the early church. The Israelite believers would have known this book as First Book of Malachim, or as the Vulgate presented it in Latin, “Liber Regum tertius; secundum Hebraeos, Liber Malachim.” It was in the Reformation period that the names of the books were modified. It was not the Catholics or Protestants that encouraged this change, but it was Daniel Bomberg (died 1549), an early printer of Hebrew language book, who introduced this change in his principal edition of the Mikraot Gedolot (rabbinic bible) in 1516-1517.

It took many years for this change to filter into the printings of other Bibles. This edition of Third Kings was a part of an edition of the Great Bible printed in 1566. The original printing of the Authorized, or King James, Bible of 1611 also contained the Book of Third Kings.

Keep on Huggin’!

The Evangelism and Missions Collection, located on the third floor of the Billy Graham Center, features an astounding array of books detailing the histories of international mission agencies, institutions, revivals and movements. In addition, the collection contains the biographies and autobiographies of missionaries, pastors, evangelists and other Christian workers, all dedicated to fulfilling the Great Commission.

Hugs1One of the unique ministries archived among the titles in the Evangelism and Mission Collection is chronicled in Hugs (1988) by Henry and Susan Harrison. Henry Harrison, D.D., served as co-host, (until replaced by Tammy Fay Bakker) and announcer for Jim Bakker’s PTL (“Praise the Lord”) Club, located at the Heritage, USA, campus, in Fort Mill, South Carolina.  In addition to evangelism, “Uncle Henry” and his wife, “Aunt Susan,” as they were widely known, specialized in hugging. This excerpt from an interview reveals their passion:

Interviewer: …To me, the most important feature is your license plate.

Uncle Henry: PTL/PHD. That’s PTL’s Pastor for the Hugging Department.

Interviewer: You had that specially made?

Uncle Henry: Yes, and I also designed one for Susan’s car. Her license plate is SUZ/HEN and when you pronounce it together it comes out “Susan.” But it’s for the two of us together, Susan and Henry.

Interview: That’s unique! Here’s a picture of the Upper Room at Heritage, USA. Are you there often?

Uncle Henry: Susan and I are there every weekday afternoon, Monday through Friday, for an hour of sharing and testimonies and hugging. And…I don’t think it is a sacrilege when I sometimes affectionately refer to it as “The Hugging Room.” I truly believe there is sweet communion in hugging on the part of believers.

Aunt Susan: When God said to Jim Bakker years ago, “Jim, if you’ll build me a place I’ll meet you there,” Jim took some of his people to Jerusalem and measured the Upper Room’s every inch and every column. The one at Heritage as as near a replica of that one as the local building code would permit. The Upper Room in Jerusalem has stone floors, but we do have a nice red carpet to kneel on. And we have the atmosphere — the spiritual atmosphere — that is so conducive to praise and worship and healing and salvation and all of the things people come there crying for in their spirits. They pray and intercede for their friends and family back home.

Hugs appeared one year before Jim Bakker’s devastating sexual scandal brought down the PTL empire. The Heritage property has since been portioned and sold to various developers. Quite poignantly, the Harrisons observe at the end of the book:

Aunt Susan: …I’d like to leave a parting thought on this. When a person is truly hurting to the very depths of their being — as in bereavement at the death of a precious loved one — the ear fails to register the meanings of the words being heard. Hugs2But the warmth and concern conveyed by a sincere, loving hug reaches and soothes the wounded spirit as nothing else can…Through this book our hugging people will continue long after we’re gone from this world.

Uncle Henry: I think of this book as being a kin to the Book of Acts in that it has no “amen,” but lives on in the lives of “hugging” believers! I don’t know who wrote these lines, but we’d like to leave them with you….Keep on huggin’!

Day of the Wolf

Coleman Luck, creator of “The Equalizer” and “Gabriel’s Fire,” pulls  no punches in Day of the Wolf: Unmasking and Confronting Wolves in the Church (2015). Throughout the book, Luck offers personal anecdotes in the spiritual and psychological mechanics of dealing with wolves, whether in Hollywood or the church, or both in partnership.

LuckHe writes, “This book has been written to call us all to account. For spiritual wolves, it is the most serious warning to repent while there is still time. Your soul is at stake. For those who follow and encourage wolves, it is a call to Biblical awareness, repentance and action. For those who have been wounded in wolf attacks, it is a call to forgiveness and healing. For everyone in the Christian Church it is a call to vigilance and, where needed, Biblical, Holy Spirit empowered confrontation, because things are going to get much worse.”

The Coleman Luck Collection includes the working materials of this contemporary novelist, television and screenwriter. His work on various network television series, as well as independent projects, are documented in this collection.

Learn more about Coleman Luck’s papers at Wheaton College.

Shakespeare on Display

ShakespeareAngle800As part of the E. Beatrice Batson Shakespeare Collection in the College Archives and Special Collections, Buswell Library is pleased to have a copy of Henry the Fourth, both the first and second parts. These plays are taken from the fourth folio edition of Mr. William Shakespear’s Comedies, Histories, and Tragedies (1685) and were donated to the College in honor of Dr. Batson’s retirement from the English Department about 25 years ago. This month, thanks to the generous donation of a custom-made case, our folio has found a new home on permanent display in the lobby of Buswell Library.

In preparation for this display, I had the opportunity to research this special book, and the findings were rather surprising.

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At first, all we knew about this volume was contained in an inscription written in an unknown hand on one of its back fly leaves: ShakespeareNote800

 

“Extracted from the / Fourth Folio of 1685 / Bound in Cambridge calf / antique style by / Bernard Middleton. / hole in the leaf Hh”

I was able to locate the publication information for the “Fourth Folio of 1685” through the English Short Title Catalogue, a database of antiquarian English books hosted by the British Library. A combined author and date search returned three entries:

ESTC800

 

Without a title page, it was impossible to tell which of the three imprints our plays contained. Therefore, as “H. Herringman” was the only constant between the three, he was the obvious starting point for further research.

The British Book Trade Index and CERL Thesaurus list “H. Herringman” as Henry Herringman, who worked from 1653-1693 as a bookseller and publisher in London. He specialized in producing fine literature and dramatic texts, which is unsurprising considering his relationship with the poet John Dryden and his many copyrights for Shakespearean works.[1]

To publish Shakespeare’s fourth folio, Herringman employed three printing houses to each produce a section of it. The plays in our copy are taken from the second section, which is particularly interesting due to its errors in layout. More specifically, there were many mistakes made in labelling the signatures. These combinations of letters and numbers in the bottom right corners of certain pages determined the format of the book, and so it was important that they be precise. Our copy of The First Part of Henry IV features an example of such an error on folio 41:  the signature “Ee3” had been mistakenly left off the page, but here someone (likely from the printing house) has corrected it by hand with ink.

ShakespeareEe3800

Scholar Giles E. Dawson examined nearly 40 copies of this folio, and in the majority of them “Ee3” was added in this way. He notes that the handwriting is the same in all the copies he examined, and that it is most distinctive in this particular signature.[2]

Having read Dawson’s assessment, I wanted to compare our signature to that in others copies and see if it matched. The ESTC linked to three examples of this text, one with each of the different imprints, in the Early English Books Online database and it seems Dawson was correct: in all of them, there is a forward slant in the uppcase “E” and the crossbar of the lowercase “e” is tilted upwards.

Es

Ours, however, appears different:

Ee3800

The uppercase “E” has no slant to it (although it certainly has some ungraceful serifs), and the crossbar on the lowercase “e” is flat. Was it written by someone else? Or could the corrector have been experimenting, perhaps using a different pen?

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In another place in the book, we find more markings and they, too, highlight some strange particularities.

Folio 47 features parts of two scenes from The First Part of Henry IV which someone has marked up to note typographical and editorial issues. For example, the “S” in “Scena Tertia” is incorrectly printed in roman, while the rest of the heading is italicized:

ShakespeareS800

 

On the other side of the page, a misspelling is noted, where the “e” in “sedden” is crossed out and the correct letter, “u”, is written in the margin:

ShakespeareU800

 

And below that, a pound sign in the margin corresponds to a marking within the text:

ShakespeareHashSpace800

This was a convention with which I was unfamiliar. One of the pound sign’s many purposes over time has been to signal the need for a space, which seems to be the significance here. In an attempt to date these notations, I tried to research the history of the pound sign as an indicator of a missing space. While the history of marginal and typographic symbols has been the topic of several books and blogs in recent years, writers have focused on the pound sign’s capacity as an abbreviation for, well, “pound” rather than as an indicator of a lacking space. As a result, I’m uncertain as to when this became common in proofreading, which makes it difficult to determine when these notations were added.

That said, there are two remarks that can be made with certainty. The first is that all of the Shakespeare folios were printed at a time when the English language was yet unstandardized and undergoing continual changes in spelling and punctuation. Each was edited differently, although compositor’s mistakes were to blame as well as emerging conventions.[3] The marks in our volume illustrate one person’s engagement with his or her text in a period where readers, writers, and compositors were experiencing a dynamic evolution of language.

A second certain remark is that none of the other aforementioned copies of the fourth edition have these mistakes on this page. The books at the Bodleian Library, Folger Shakespeare Library, and Cambridge University Library all have the italic “S” instead of the roman, the correct “u” in sudden, and while the quality of the EEBO scans makes it tricky to determine for sure, it seems as though all also have a space between “Henry” and the colon.

What does this indicate? To be honest, I’m not sure. Could these markings signal a printer’s copy used to make changes before sending the book to press? It’s possible, although one would assume that the errors in layout would have been flagged then, too.[4] The general design of the page is consistent with that of the fourth edition and only the fourth edition of the Shakespeare folios, leaving me frankly quite puzzled as to where this copy fits into the larger narrative of the publication. Between the differences in the signatures and now this page, our book contains some mysteries which, until further research is completed, must remain unsolved.

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The material composition of this book, on the other hand, is a mystery solved. As stated in the inscription, our copy was specially bound by Bernard Middleton, a renowned British binder who flourished in the twentieth century and literally wrote the book on English bookbinding. The work he did for our copy resulted in an elegant speckled calf leather binding with blind tooling and gilt letters, and he signed his work in the lower left corner of the back cover paste-down using his signature stamp.

Cover800Stamp800

Determining the papermaker, on the other hand, was a bit trickier. Such details aren’t listed in imprints and there was nothing in the inscription. Yet when held up to the light, it became clear that, consistent with folios from the era, our book was printed on antique laid paper with vertical chain lines. Upon closer inspection, I saw a watermark:

ShakespeareWatermark800

It was hard to make out the letters and shapes, but I saw something resembling a plus sign, a possible fleur-de-lis, and the letters V, A, and L towards the beginning of the word and A, R, and D towards the end. It looked like “OVALGARD”, but this search returned no results. While browsing the Thomas L. Gravell Watermark Database, however, I discovered the name of a seventeenth-century papermaker from Normandy, Denis Vaullegeard, who sometimes used the spelling “DVAVLEGEARD” in his watermarks. As it happens, Dawson had already credited Vaullegeard’s work on the fourth folio paper in an article published more than 50 years ago. According to him, multiple Vaullegeard watermarks are found on the pages of the folio, all containing elements featured in the image above: the name, the shield, and the loopy ribbon bordering it.[5]

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A final clue also appeared on the paper, and while it wasn’t quite as hidden as the watermark, it still originally passed unnoticed. In the top left corner on the back side of the front free endpaper are some tiny words in ink:

Writing800

Thanks to a quick Google search, what looks like “LOTHERAN. JACKVILLE ST. LONDON” was revealed to be “SOTHERAN SACKVILLE ST. LONDON”. Sotheran’s of Sackville Street is, according to its website, the oldest antiquarian bookshop in the world, founded in York more than 250 years ago.

Since our provenance information for this item is limited, I emailed Sotheran’s for more information and quickly received a reply from the Managing Director. He informed me that they have sold many plays taken from (typically incomplete) copies of all four folios, and while he wasn’t able to locate the information for our particular plays, he was able to tell me that they must have been sold after 1936, the date in which Sotheran’s moved to Sackville Street. Their archives were destroyed in World War II—bombing and looting during this period have created numerous provenance problems—so it may be that our plays were sold in between those events and the record is gone, or they might have been sold later and Sotheran’s records database is incomplete.  Regardless, we now have some insight into the three centuries between our book’s publication and its arrival in the College Archives & Special Collections.

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Although many details from our book’s past are still unknown, we were able to find out much about this special copy. Perhaps as more editions are digitized and more scholarship is completed, we will discover exactly why our copy stands unique among its peers, and maybe even find out more about its provenance. In the meantime, if you would like to see Henry the Fourth for yourself, please come visit the display in Buswell Library.

References:

[1] See Sonia Massai, “‘Taking Just Care of the Impression’: Editorial Intervention in Shakespeare’s Fourth Folio, 1685,” in Shakespeare Survey Volume 55: King Lear and its Afterlife, ed. Peter Holland (Cambridge: Cambridge University Press, 2007), 257-270; and Giles E. Dawson, “Some Bibliographical Irregularities in the Shakespeare Fourth Folio,” in Studies in Bibliography, 4 (1951/1952), 93-103 for more information on Herringman and the production of this folio.

[2] See Dawson, “Some Bibliographical Irregularities,” 94.

[3] See Massai’s article, as well as Matthew Black and M. A. Shaaber’s book, Shakespeare’s seventeenth-century editors, 1632-1685 (New York, Kraus Reprint Corp., 1966), for details on the editorial process.

[4] Dawson notes that these layout errors were indeed noted late into the printing, and corrections were made for a small remaining batch of books which technically comprised a fifth edition; see “Some Bibliographical Irregularities,” whole article for more information.

[5] “Bibliographical Irregularities,” 246.

Her fault

AgnesWhen God promises to heal the land, as he does in II Chronicles 7:14, he is predicting the return of the Jew to Israel the homeland, though contingent upon national repentance. When missionaries leave their home country for a foreign field, they often harbor hopes of “healing” the land, or preaching the gospel and serving needy peoples. But when Agnes Sanford, charismatic author and lecturer, moved from the East Coast to California in her later years, she had something far more literal in mind as she applied her extraordinary gifts. She writes in Creation Waits (1976):

When I moved to California in order to be nearer to my children and also to be handy to the San Andreas Fault in order to pray for it, I looked for a house….When I pray for the San Andreas Fault, that is settle its differences, or make its adjustments to the earth that is even now being gradually pushed up from the ocean, I see with the eyes of faith God’s healing and constructive power, God’s life-force of light, shining into the mountains beneath which the fault lurks, and causing these areas of new land to develop so gently, so gradually, that there shall be no destructive earthquakes. Many people, encouraged by the newspapers, seem to gloat in the prospect of a destructive earthquake, and to delight in foretelling it. However, God is more powerful than all newspapers and gloomy prophets who foresee calamity.

The paper of Agnes Sanford (SC-174) are archived in the College Archives & Special Collections.

Turn Your Eyes Upon Jesus

Helen Howarth Lemmel, born in England but raised in the United States, taught music at Moody Bible Institute and the Bible Institute of Los Angeles. Gifted with words as well as music, she wrote columns for a newspaper and directed choral groups for the Billy Sunday evangelistic campaigns. In 1918 at age 55 she acquired a gospel booklet called “Focussed” written by Lilias Trotter, missionary to Algeria. “Turn your soul’s vision to Jesus,” wrote Trotter, “and look and look at Him, and a strange dimness will come over all that is apart from Him…”

Trotter’s exhortation forcibly struck the weary Lemmel. She writes, “Suddenly, as if commanded to stop and listen, I stood still, and, singing in my soul and spirit was the chorus, with not one conscious moment of putting word to word to make rhyme, or note to note to make melody…These verses were written…the same week, after the usual manner of composition, but none the less dictated by the Holy Spirit.” The hymn, initially called “The Heavenly Vision,” appeared in Glad Songs. It was sung at the 1922 Keswick Convention in England and eventually became known by its refrain, “Turn Your Eyes Upon Jesus.” This familiar hymn is now sung in churches throughout the world. Helen Lemmel died in Seattle, Washington, in 1961.

The Keswick Collection (SC-30), comprising books and pamphlets, the Lilias Trotter Collection (SC-225), comprising illustrated journals, and the Hymnal Collection (SC-15) are housed in the Wheaton College Special Collections.

Lemmel