Author: Guest Blogger

The Archivist’s Nook: Wear, Tear, and Care – The Lives of Liturgical Vestments

Posted on by Guest Blogger

Guest author Nicholas Brown, Ph.D. is a recent doctoral graduate from Catholic University’s Department of History and Anthropology.

Most of us, when we think about libraries, imagine books. (Fair.) Catholic University’s Special Collections houses thousands of texts, ranging from Rare Books’ medieval manuscripts to the dissertations of former CUA doctoral students kept by Archives. But Special Collections also cares for art, artifacts, pieces of cultural heritage – like the collection of nearly forty vestments and liturgical items donated by Hannah McCann on behalf of her late father John S. McCann who curated this collection throughout his life.

This collection is mostly made up of Latin Rite liturgical vestments, though it also includes some Byzantine vestments, some liturgical paraphernalia, and most surprisingly, a Masonic sash with the insignia of the Order of the Eastern Star. It would be a bit cheeky to call this an “ecumenical” collection, but not inaccurate.

Fig. 1. Vestment
Age unknown [back of garment]
Fig. 1. Detail

It is very broad, and even within the Latin vestments there is a lot of variety. Some vestments are ornate and others are simple; some are part of sets and others are alone; some are in good condition and others are damaged.

One of the more dramatic examples of a damaged vestment is this one [fig 1]. This vestment, a chasuble, is made of rich, dark red or perhaps fuchsia fabric. Within the orphrey (the vertical band that runs down the middle of the chasuble) there are panels which depict – or once depicted – human figures with haloes. Today, they are faded beyond recognition, but we can imagine how vibrant it once was. The chasuble also seems to have been damaged during its “life” as a liturgical vestment, as well. On its front, we can see a place where the fabric was torn, and a patch was replaced. The chasuble doesn’t only show its age, but also the care that went into its maintenance over the years of its use.

Though the ornamentation of the red chasuble is out of step with the others, its cut is not. Like all the chasubles in the collection, it is a Roman or “fiddleback” chasuble, resembling a large apron (or, if you have been to the dentist recently, the vest one wears during an x-ray), rather than the fuller neo-Gothic style more commonly used in Catholic churches today. I suspect that this is not the original cut of the chasuble, but a change that was imposed on it at some point during its “life” as a liturgical vestment, which would explain why the lining of its outer edges is of a different material than the lining of the orphrey. This kind of alteration was the fate of many historical vestments, most famously the medieval “Westminster chasuble” worn during the burial of Richard III in 2015 (2).

Fig. 2. Vestment
ca. 19th century [back of garment]
Fig. 2. Detail

This is only a hunch, but whether or not the chasuble originally had a fuller shape, it shows signs of alteration over time; it seems to have been damaged over the course of what must have been long years of use. On its front, we can see a place where the fabric was torn, and a strip of fabric was replaced. This is a very different kind of alteration, an intervention to restore rather than to change. The repair is obvious at first glance and not beautiful to look at, but tells us something important about the chasuble. It was not only an item used in worship, but also one to be maintained and cared for.

This is the only chasuble to depict human figures, but several of the others also have figurative art. Two very beautiful examples are these chasubles [figs. 2 and 3] which depict the Christological symbols of the lamb and the pelican. Most of us are familiar with the image of the Lamb of God, a sacrificial symbol which is right at home in the context of a vestment for Mass. The intricate embroidery of this chasuble brings this lamb to life in incredible three-dimensional detail, its silvery body standing out against the gold of the chasuble. The image of the pelican is less well-known today, but it is another classic symbol of Christ. According to medieval zoology, the pelican fed its chicks with its own blood (or alternately, bludgeoned its chicks to death and resurrected them with its blood), making it a Eucharistic symbol for Christ’s sacrificial outpouring of his own blood. Like the lamb, the pelican is made of incredibly fine and detailed embroidery, showing the mother pelican nourishing her chicks. Bright red droplets of blood stand out against the silver of her breast, and even the birds’ nest can be seen underneath the chicks.

Fig. 3. Vestment
ca. 19th century [back of garment]
Fig. 3. Detail

So much care must have gone into the creation of these chasubles. It makes sense that the most elaborate decorative elements, both of these two chasubles and the others, appear on their backs, since this would have been what laypeople in the pews saw while the priest celebrated the Mass in the historical fashion, facing the altar rather than the congregation. To encounter them in the context of the liturgy, the context that they were created for, would have been a very different experience than encountering them today in Special Collections, and something is probably lost in that transition.

But something is gained as well. Of all the worshippers who saw the Lamb of God chasuble worn in Mass, how many had the opportunity to see the lamb up close? The faithful in the pews would have known about the legend of the pelican, but could they have noticed how the chasuble’s nestlings clambered for their mother, or how she provided a bright red droplet of her blood for each of them? As museum items, we can imagine how historical Christians would have experienced these vestments, but we can also go further; we can view them up close and from every angle, and can appreciate them and learn from them in a way that would not have been possible when they were liturgical items. Another way to put it might be that, though these vestments are not texts, we can still read them, and I am excited to see how they are read as they enter their “second life” in Special Collections.

There is one important continuity between the vestments’ “lives,” though. The original owners of these vestments did not only use them, but as we saw with the red chasuble, they also cared for them and maintained them. Before they came to Special Collections, they were also cared for John S. McCann, who spent years bringing together this collection which must have been an immense source of pride. Now it falls to Special collections to continue the care of these items which were so clearly cherished by those to whom they once belonged. In this way, we can honor not only the objects themselves, but the people and communities who have left their mark on them over the centuries. This is certainly not what the late Pope Benedict XVI had in mind when he wrote these words, but it is nonetheless true that “[w]hat earlier generations held as sacred remains sacred and great for us too” (4).


(1) For a dated but useful overview of historical vestments, refer to R. A. S. Macalister, Ecclesiastical Vestments: Their Development and History (London: Elliot Stock, 1896) (accessed May 5, 2026). See also Maureen C. Miller, Clothing the Clergy: Virtue and Power in Medieval Europe, c. 800-1200 (Ithaca, NY: Cornell University Press, 2014) (accessed May 5, 2026).
(2) “Pontifical Requiem for King Richard III,” Saint Bede Studio Blog, March 25, 2015,
(accessed May 5, 2026).
(3) On the former, refer to Brady Barry, “The Medieval Christ: Mystical Pelican and Redeemer,” Brown Art Review (accessed May 5, 2026). See also Augustine of Hippo, Enarrationes in Psalmos, psalmus 101, sermo 1, par. 8. Many thanks to Jane Maschue for connecting me with this passage.
(4) Benedict XVI, Summorum Pontificum (accessed May 5, 2026).
(5) Many thanks to Alexis Howlett who, in addition to formatting this blog post, provided the images of the vestments. Further, she was very patient during this blog’s long gestation, for which I am grateful.

The Archivist’s Nook: Elvish Script or Atrocious Scrawling? Deciphering the Handwriting of Tolkien Friend and Scholar, R. T. Meyer

Posted on by Guest Blogger

Guest author Isaac Copeland is a graduate student at Catholic University in the Department of History and Anthropology.

Robert Theodore Meyer, 1961, The Washington Post, Special Collections, Catholic University.

In 1978, five years after the death of renowned author and scholar J.R.R. Tolkien, Robert Theodore Meyer took the podium to recount his memories of his famous friend, sketch the life of the famous author, and donate his collection of Tolkien’s linguistic library to the Catholic University of America. This lecture is filled with humorous anecdotes and memories of Tolkien, from Meyer’s first meeting with him during a conversation about the Irish hero Cu Chulainn, to Meyer’s comments about the atrocity of Tolkien’s driving, and finally the humorous notes Tolkien scrawled in the margins of his copy of Canterbury Tales.   

Only one record of this lecture exists, 25 photocopied pages of Meyer’s handwritten notes. It is said that the more intelligent a person is, the worse their handwriting and this adage certainly holds true in the case of Meyer. Boasting a scrawl to match any physician, Meyer’s handwriting ranged from difficult to indecipherable. It was clear that this lecture, so rich in tales and anecdotes of Meyer’s time with Tolkien, needed an update, or more accurately, a deciphering.

R. T. Meyer Lecture Poster, 1979. Special Collections, Catholic University.

The first and most obvious challenge to a transcript of Meyer’s lecture was his handwriting. This document was not intended for eyes other than Meyer’s to read, and he took no pains to make his writing legible. Words devolve into squiggles, and letters disappear entirely. Prepositions are marked with little more than a single dash of the pen. Long minutes were spent in debate over a single mark, and words required second, or even third opinions, as we struggled to make sense of Meyer’s scrawl.

Even when the first barrier of Meyer’s handwriting was cleared, other hurdles loomed ahead. The greatest tool to decipher a mysterious word, or unknown jerk of the pen is the context of the clearer words around it. Names, however, are almost completely free of context. It is simple to determine if “and” or “at” better fits a sentence, but the difference between “Gervase” and “Gerald” cannot be determined by the words around it. The only hope is that somewhere he wrote the name more legibly. Additionally, many of the names found in the lecture hail from other languages. Meyer and Tolkien were both students of the Celtic languages of the British Isles, and Welsh held pride of place in Tolkien’s heart. To people with no knowledge of Welsh, the many consonants of Meyer’s transcription of Welsh names were completely opaque.

R. T. Meyer Handwritten Note, ca. 1979. Special Collections, Catholic University.

Welsh was by no means the only other language found in the text. Both Latin and Greek made their appearances. Latin at least shares an alphabet with English, and paired with Meyer’s own translation given in the text, was little more difficult than his English.  His Greek, however, was indeed Greek to me. Meyer seemed to take more time with his Greek lettering, as seemingly no letters were dropped, but whether this was a product of his own care, or the change from English cursive to Greek print is unclear. Whatever the case, it took consultation with people who actually spoke the language to decipher his quotations.

Should all those challenges of transcription be overcome, one final problem loomed over the entire project. The only remaining copy of this lecture that exists in the archive, to our knowledge, is a photocopy of the original. Whoever made this photocopy cut off the bottom two or three lines off of every page. With over twenty pages in the lecture, over fifty lines are missing from the original. As it stands, these lines are irrecoverable without the original. Sadly the original remains lost. So while the transcript of what exists may improve with more eyes and more time, it will sadly never be complete.

Despite all these challenges and the missing pieces, the vast majority of the lecture now has a transcription, and Robert Meyer’s words live again. Meyer’s delightful voice wanders off the page with all the eccentric charm of one of Tolkien’s hobbits. He meanders from story to story recounting the biography of Tolkien and a number of his other friends in Oxford. From the pages not only a clear image of Tolkien emerges in his tweed suit and anachronistic romanticism, but also Meyer, with digressions into the intricacies of Celtic etymology, and philologic historiography. It is a window into another time that looks even further back, filled with old Oxford dons, archaic languages, cups of tea, and a little more green in the world.

Special thanks to Alexis Howlett for her invaluable assistance. Additionally, thanks to former CUA graduate student Andrew Marsh for their help and assistance in working with the author to transcribe the Tolkien transcript. See also previous posts about our ‘lost’ Tolkien book and related exhibit.  Inquiries about the Meyer Papers can be directed to lib-archives@cua.edu.

The Archivist’s Nook: John Convey, Diocesan Education Whisperer

Posted on by Guest Blogger

The guest author, Lara Loutfi, is a graduate student in Library and Information Science at Catholic University who did practicum work with the CU Special Collections in the Fall 2025 semester. 

John Convey, 2007. Special Collections, Catholic University.

I have been working in Special Collections at the Catholic University of America for about a year now. But this semester, I had the pleasure of cataloging the papers of Dr. John Convey for my practicum project. He was a former provost and Elizabeth Ann Seton Professor of Education at Catholic University. My job was to reorganize the collection and create a finding aid from the ground up. This had been my first time starting a project like this from the very beginning so I was excited to have a chance to use my skills. Being given full creative liberty to catalog this collection, I decided to completely restructure how it had been stored in the first place while at the same time, maintaining the original order the records kept.

During his 44 year career, Dr. Convey has written and edited a total of eight books and won several awards from the National Catholic Education Association, whose records are also in Special Collections, including the C. Albert Koob Award in 1991, the O’Neil D’Amour Award in April 2011, and the Elizabeth Ann Seton President’s Medal in October 2011. In November 2005 he was the recipient of the Benemerenti Medal, given by Pope Benedict XVI in recognition of his service at the Catholic University of America as well as to catholic education as a whole. Convey’s achievements and contributions during his career are reflected throughout his papers.

Dr. John Convey, 1997. Special Collections, Catholic University.

This collection in particular contained evaluations, consultations, and planning studies conducted on the education system of catholic schools across several parishes, dioceses and archdioceses in the United States. These studies aimed to improve catholic education by analyzing what problems were present and how school administrations as well as faculty could work to fix them. Through the process of gathering any necessary data and conducting surveys on parents or pastors alike, Convey compiled all this information to draft up reports and provide recommendations on how to solve problems regarding enrollment, finances, teachers’ salaries, faculty and student life as well as others depending on the statistics and requests of each parish or diocese.

An example of one of these studies that stood out to me was the Strategic Planning Study conducted for the Archdiocese of Boston, where my middle and high school in Arlington, MA were mentioned in his area plans. Between 1989 and 1991, Convey served as a consultant for the Archdiocesan Planning Committee for Catholic Schools as they worked together to expand access to Catholic education for their Catholic students by improving enrollment as well as resolving the issue of rising expenses and attendance costs. Each school across the Archdiocese of Boston submitted parish plans outlining any relevant issues or assistance required for their community over the course of the two year study. In the final recommendations, the planning committee, with the help of Dr. Convey created a long term plan that would cover nine different areas of Massachusetts to encourage Catholic identity for students, increase enrollment, and provide a stable financial plan. This is just one of the many studies conducted to improve Catholic education and administration in U.S. dioceses.

Catholic School Promo Poster, ca. 2020, Catholiceducationarizona.com

His work and service to the improvement of catholic education had earned him the title of Professor Emeritus after his retirement in 2018. In the words of his former doctoral student Kevin J. Calkins in his 2024 Alumni Essay, “John leads by example, teaching me (often without words that faith, hard work, kindness, selflessness, and lightheartedness are necessary to be an effective educator and, more importantly, a Catholic educator.”

If you would like to view the John Convey Papers yourself, please see the online finding aid or make an appointment to visit the Catholic University Special Collections by contacting them at lib-archives@uca.edu. You can also check out additional Catholic education resources with a research guide and an online exhibit.  Special thanks to John Convey for sending me his biography and to University Archivist, William J. Shepherd, for showing me this collection. 

The Archivist’s Nook – Catholic Social Teaching and Ronald Reagan’s Economy

Posted on by Guest Blogger
President Ronald Reagan meets with USCCB Leaders to discuss the Economy, July 16, 1982. Catholic News Service (CNS) File Photo, USCCB.

The guest author, Quincy Ryan, is a graduate student in Library and Information Science at Simmons College who worked with the CU Special Collections this semester as a practicum student.

This Fall, I had the opportunity to complete a practicum with the Special Collections at Catholic University of America, under the mentorship of William J. Shepherd and Shane McDonald. My project for the fall was to process the collection and complete a finding aid for the United States Conference of Catholic Bishops (USCCB) Catholic Social Teaching and the U.S. Economy Ad hoc Committee for their library repository.

As a Library and Information Science student, I was excited to get hands-on experience with the field since I have not had LIS work experience prior to this opportunity. Before starting the practicum itself, the staff at the archive was generous enough to give me a tour and talk about the different collections they house, fun experiences and encounters they’ve had, and the day-to-day experience of working there.

Archbishop R. G. Weakland holds a copy of the second draft of the U.S. bishops’ landmark economic pastoral, October 1985. Catholic News Service (CNS) File Photo,  USCCB.

The collection assigned to me for this project was The United States Conference of Catholic Bishops (USCCB) Catholic Social Teaching and the U.S. Economy Ad hoc Committee, a 12-box collection of documents about the Ad hoc committee and their creation of the pastoral letter titled Economic Justice for All: Catholic Social Teaching and the U.S. Economy. This collection consists of three series, with the bulk of the collection consisting of paper records of meetings, media coverage, and correspondence. The USCCB has played a central role in shaping Catholic advocacy on social and economic issues, with this letter being part of the tradition of Catholic social teaching. The letter’s purpose was to encourage and contribute to the development of a cultural common ground in efforts to inspire an economy that serves all people more fairly by detailing the questions of; What does the economy do for people? What does it do to people? And how do people participate in it? Abp. Rembert G. Weakland was asked to chair the U.S. bishops’ committee responsible for drafting the pastoral letter and has termed the experience in his memoir as “one of the most important and formative periods of my life.”

The first draft of the pastoral letter was written and delayed until after the election of President Ronald Reagan and his controversial economic policies he would enact. The delay of this draft was met with heavy criticism due to the opposing economic and social views between the catholic church and Reagan, but with a majority of the church backing Reagan due to his stance on pro-life policies.

Cover of the published version of Economic Justice for All: Pastoral Letter on Catholic Social Teaching and the U.S. Economy, 1986. Catholic U Special Collections.

Going through the hundreds of correspondences and documents of the collection, I was able to see various opinions on the pastoral letter, how the letter evolved over time, and the eventual reception of the finished product. This was such a cool learning experience and let me see firsthand how researchers would use a collection such as this due to the similar social and economic issues we are facing today. It was interesting to see how leaders within the church handled the moral dilemmas of capitalism and how the pastoral letter navigates the moral and economic beliefs of the church when against opposing views from the U.S. government. While not the most exciting of titles, the pastoral letter offered insight into a world I knew very little about.

Processing the collection itself and writing the finding aid was the bulk of the work completed for this practicum. The process of going through the collection was very intimidating at first as I did not know where to begin in learning the contents of each box. As I got more comfortable with the collection, I began to see the thought process behind the original order of the documents. My classwork alongside the practicum focused heavily on the concept of provenance and original order and allowed me to see what these concepts looked like when applied to a collection. With these concepts in mind, the final ordering of the collection was mostly in its original form with some folders being reorganized based on incorrect alphabetical order or fixing the ordering of a set of folders (e.g., some folders were assigned as a set such as Part 2, Part 3, and Part 1 and would be fixed to be Part 1, Part 2, Part 3). Overall, this was an invaluable experience and cemented my appreciation and excitement to further explore the field of archives.

If you’re interested in exploring the USCCB Catholic Social Teaching and the U.S. Economy Ad hoc Committee collection, please see the online finding aid, and/or you can visit the Catholic University of America Special Collections by appointment.  For more information, you can reach out via lib-archives@cua.edu. Special thank you to Abigail Hibbs and Alexis Howlett for being so welcoming and answering my abundance of questions throughout this process. Thanks also to Katherine Nuss of the USCCB for providing photographs.

The Archivist’s Nook: Gaudium studendi nummi

Posted on by Guest Blogger
A Roman Imperial Coinage book, ca. 2025, Brooklyngallery.com.

This week’s guest blogger is Alexander Sanfilippo-Scherer, Alumnus Classical Studies Major, Class of 2025, and a budding numismatist. He has completed multiple research experiences and an internship with the CUA Special Collections. . 

What can a simple coin tell us about the past? Ancient Coins can reveal many things to many different people. People that are interested in the Ancient’s economy will be quick to point out that coins and their metal content, quality, size and weight can inform you quickly about the economic health of the period. Others interested in the ancient culture might be interested in learning about the different iconography on the coins and what they mean. I personally like to see coins (especially those from Ancient Rome) as pieces of propaganda. The basic format of the Roman Coins which are the majority of coins in the collection is that on the obverse (or “Heads” of the coin) which displays the Emperor’s titles as well as his image. The reverse (Or “Tails” of the coin) is the most important part of the coin. Because this shows varied things such as the deities the Emperor worshiped or what those images represented. This shows archeologists (as well as people in ancient times) what was important to the Empire. With specific deities as well such as Solus we can also track an estimated date based on when he started appearing on coins when his cult of worship actually started.

Late Roman Republic, obverse of a silver coin (denarius) struck by Caesar without the authority of the Senate. Special Collections, Catholic University.

Now… where does that put me? In the Spring 2024 Semester I completed a Practicum with the CUA Special Collections. I had been researching them independently for 6 semesters now mainly working in identifying them under the tutelage of Dr Klingshirn of the Greek and Latin Department. But this Spring semester had been a blast as it was my mission to digitize the collection of Coins, that way they can be more accessible by researchers in the future. While it is important of course to physically touch artifacts of any nature,( these coins are quite small, the biggest one I have gotten the pleasure of holding in my hand only happened to be about 3 inches in diameter), as such not all details can be easily seen with the naked eye and it’s hard having to use any magnifying glasses to identify small details due to the strain it can bring. But when digitized, any researcher around the world can use the wonderful zoom feature in order to see all of these details much more easily. Bonus because it would be much clearer if it would be zoomed in photos. Digitizing these also as I learned makes it easier for researchers to research as organizing specific groups of coins to be researched or identified is a very challenging task as they are organized by collection not by Emperor or time period.

Late Roman Republic, reverse of a silver coin (denarius) struck by Julius Caesar without the authority of the Senate. Special Collections, Catholic University.

Also with about 1,800 coins (ranging from Ancient Greece and Rome, to Ancient China and the Medieval World) it would be an arduous task to even achieve organizing them by that method. So digitizing them makes it easier to actually find and give to researchers as it save’s time from having to pull them into the desired groups needed for that instance. My Practicum was eventful to say the least. And while no I didn’t find the gold of El Dorado, or Viking Runic Coins. I did get to hold in my hands some of the most wonderful pieces of history. For example I got to hold one of the poster child for Classical Numismatics (A genuine Silver Caesar Elephant coin), but I also got to witness coins I have never seen before such as the coins of Ancient Gaul (Which I unfortunately did not get the chance to digitize due to the massiveness of this collection). My practicum was very informative as I didn’t realize all the work that had to go into presenting an object for digitizing until you got it just right that all the details were captured. Some of the coins had their photo shoot multiple times due to how the engravings on the coin would hold it up on the scanner making it miss some parts due to that.

In my final year at Catholic, the coins of the Special Collections where brought to the forefront of my studies as my Senior Capstone project involved them as the primary sources. My senior capstone was a proof of concept course on teaching college level students about the Roman Empire using coins as the primary source. Many of the coins I digitized ended up being included in this project. Overall I loved my time at the practicum, researching, and especially loved being able to share my love for this collection with anyone who would listen frankly. I will miss the evenings where I will tell my mother with excitement all about my day and what I did after coming home to my dorm. I think any student at Catholic interested in the Ancient Past should visit the Special Collections of the Catholic University of America (Afterall its a free personal museum when you think about it!). I, for one, know that the knowledge I gained from my research here, and the experience I had will help me. I am currently a Educator teaching Latin in High/Middle School levels, so I know it shall help me there!

For more information, contact Special Collections and see a previous blog post. Also, thank you to Alexis Howlett.

The Archivist’s Nook: Faith, Politics, and Preservation – USCCB Pro-Life Collection

Posted on by Guest Blogger

Our guest writer this week is Rachel Nunley, a Virginia native and a Library Science (MS-LS) graduate student at the University of North Texas. She is currently doing her practicum at Special Collections in the Spring 2025 Semester.

USCCB Pro Life, 1981, Special Collectons, CatholicU

The USCCB Pro-Life Collection, housed at the Catholic University of America, Special Collections, provides a unique look into the Catholic Church’s involvement in pro-life advocacy. Covering the years from 1940 to 1991, this collection documents the Church’s legal, social, and pastoral efforts surrounding one of the most debated topics in modern history. Through a variety of records—including correspondence, court case files, legislative documents, committee meeting notes, and pro-life campaign materials—researchers can explore how the Church engaged with political and social movements concerning abortion.

The USCCB Pro-Life Collection consists of five boxes (6 linear feet) filled with correspondence, court case files, legislative documents, committee meeting notes, and pro-life campaign materials. It is divided into five series: Series 1: Population & Divorce, Series 2: Pre-Roe v. Wade Court Cases, Series 3: Pastoral Plan, Series 4: Mailings to Coordinators, and Series 5: Certification Project. This collection is a firsthand account of how the Catholic Church shaped and responded to one of the most divisive issues in American history. It gives researchers an inside look at how the Church influenced laws, supported pro-life activists, and navigated cultural shifts over several decades. One of the most compelling parts of the collection is how it highlights how faith, policy, and activism often intersect. The materials do not just reflect the official stance of the Church but also include grassroots efforts, legal battles, and political discourse that shaped the national conversation on abortion. These records show how abortion debates extended beyond religious contexts, influencing legislation, court rulings, and political campaigns.

USCCB Pro Life, 1982, Special Collectons, CatholicU

One of the most fascinating parts of this collection is the Pre-Roe v. Wade Court Cases series, which includes legal records from multiple states. These documents reveal the legal strategies pro-life advocates used before abortion was legalized nationwide. The Pastoral Plan series is also rich in history, showing how the Church organized its response to abortion and built a movement that extended beyond the political arena. Like many historical collections, the USCCB Pro-Life Collection comes with some preservation challenges. One thing that I noticed the most was fragile and acidic paper. Some of the older documents, particularly from Box 1, are brittle and delicate. This hands-on experience has deepened my understanding of archival preservation techniques and the importance of maintaining historical records for future accessibility. By preserving these materials, we’re keeping a vital part of history alive—not just for scholars and researchers, but for anyone who wants to understand the evolution of the pro-life movement. The pro-life versus pro-choice politics are still very much a part of our country, so having access to materials such as this one can help us understand history.

USCCB Pro Life, ‘Are People Necessary?’ and ‘Too Many People,’ ca. 1942, Special Collections, CatholicU

As a practicum student working with this collection, I have had the opportunity to gain firsthand experience in processing archival materials. One of my primary responsibilities has been organizing and describing the contents of the collection to ensure they are accessible to researchers. This work has allowed me to see how archival materials come together to form a historical narrative and how institutions like the Catholic University of America work to preserve documents that contribute to ongoing scholarly discussions. It’s been an invaluable experience to work with materials that have shaped debates and decisions. Especially because this is still such a hot topic today. Beyond the technical aspects of archival work, this practicum has given me insight into how archival collections support historical research. The USCCB Pro-Life Collection offers scholars, students, and historians a comprehensive look at how one of the most significant moral debates in American history unfolded within the Catholic Church.

If you’re interested in exploring the USCCB Pro-Life Collection, please see the online finding aid, and/or you can visit the Catholic University of America Special Collections by appointment.  For more information, you can reach out via lib-archives@cua.edu. Special thank you to Alexis Howlett for scanning the two pamphlets.

The Archivist’s Nook: Echoes of Sacred Song – Justine Bayard Ward and the Revival of Gregorian Chant in Catholic Education

Posted on by Guest Blogger

Our guest blogger is Rachel Nunley, a Virginian native and a graduate student in Library and Information Science (LIS) at the University of North Texas. She is currently doing her LIS practicum at Special Collections in the Spring 2025 Semester.

Justine Bayard Ward, 1902. Special Collections, CatholicU

Justine Bayard Ward, born August 7, 1879, came into a world where music was deeply cherished and prioritized. From the very beginning, she was destined to continue her family’s contribution to music. Her father, William Bayard Cutting, was a founder of the Metropolitan Opera. Even as a child, Justine Ward was surrounded by the cultural and intellectual elite. Her family was involved in the Jekyll Island Club in Georgia, where they rubbed elbows with some of the most powerful families in America, including the Rockefellers, Vanderbilts, and the Pulitzers.

Justine Bayard Ward in Puerto Rico, ca. 1904. Special Collections, Catholic U

After her marriage with George Cabot Ward ended (1901-1904), she converted to Catholicism. This decision shaped the rest of her life’s works. She became passionate about sacred music within the Roman Catholic Church, particularly Gregorian chant. During this time, Pope Pius X was trying to restore sacred music’s place within Catholic liturgy. Her work aligned with the reforms that the Pope encouraged [1]. Ward believed that even young children could learn Gregorian chant, given the right method. This is how she came about creating The Ward Method, which combined vocal training, composition, music theory, and conducting. Her approach was influenced by the Solesmes school of Gregorian chant, which focused on restoring the purity, fluidity, and historical accuracy of medieval chant traditions [2]. While creating this method, she made sure it would be accessible for school children of all ages. Though she had originally created it to be taught in the United States, it eventually was adapted into Catholic sacred music education across Europe [3]. This created her reputation as a pioneer in liturgical music education.

Ward’s influence extended beyond the classroom. She helped found the Pius X School of Liturgical Music at the Catholic University of America in 1929, which helped promote the study and practice of sacred music. Her instructional books, written in collaboration with musicologists and clergy, provided a framework that was used for decades in Catholic education. She spent the later years of her life in Washington, D.C., where she remained active in Catholic music education until her passing on November 27, 1975, aged 96.

President Theodore Roosevelt arriving in San Juan. George Cabot Ward is the second person behind the TR (with a white hat-black ribbon around it). ca. 1902. Special Collections, CatholicU
The Justine Bayard Ward collection at the Catholic University of America includes personal correspondence with clergy, educators, and musicians regarding the implementation of The Ward Method, instructional materials, photographs and newspaper clippings that document her influence on Catholic music education, LP’s, and books. Her contributions to the field of liturgical music were instrumental in shaping Catholic music education in the 20th century. For my practicum, I had the privilege of working with this collection, organizing materials that document her impact on sacred music education. As a Catholic convert myself, it was a pleasure to unravel pieces of her history and contributions to the religion.
Justine Bayard Ward, ca. 1975. Special Collections, Catholic University

Here’s an example of The Ward Method being taught in a classroom:

Please also see our archival finding aid, or collection guide, to the Ward Collection.
References:
  2. Zuberbueler, A. (n.d.). Ward method instruction. Church Music Association of America. https://musicasacra.com/music-pedagogy-for-children/ward-method-instruction/
  3. Ward Method Music Lesson, Köln, Germany (1976). YouTube. (n.d.). https://youtu.be/2daBfO4yA9c?si=Jl8tmEDjbDzjuz-T

The Archivist’s Nook: Clarence Rivers, Catholic U’s Pioneering Priest, Composer, and Liturgist

Posted on by Guest Blogger

Guest blogger, Bianca Farmer, is a CatholicU Library Science student who did a class practicum working with CUA Special Collections.

Fr. Clarence Rufus Joseph Rivers. 2002. Special Collections, Catholic University of America.

In the Fall semester of 2024, I enrolled in the Archives Management course. For our final assignment there was an option of completing a 16–18-page paper or volunteer to do a 50-hour practicum, I opted for the practicum to gain hands-on experience in the archival field. This decision led me to an exciting opportunity to work with CUA’s Special Collections, where I collaborated with Shane MacDonald, the curator of the digital and museum collections, and W. John Shepherd, CUA’s Archivist and Head of Special Collections.

I was given the freedom to choose which collection I would like to do. After reviewing several options, I chose the Fr. Clarence Rufus Joseph Rivers Ph.D. collection because of his work on incorporating black culture into Catholic liturgy, which I found historically and culturally significant.  My task was to organize and process the collection and create a finding aid, all of which seemed daunting to me at the time, but the collection was relatively small, and it consisted of 4 boxes. The collection was donated in 2022 by Gerald Rape and Bonnie Leal, both who were lifelong friends of Fr. Rivers. They both believed that it was the wishes of Fr. Rivers to have some of his items at CUA because it was his alma mater. In contrast, there is another Fr. Rivers collection at Boston College that consist of 30 boxes, the CUA collection is much smaller, but no less historically valuable.   The CUA collection consist of a wide range of materials such as vinyl records, DVD’s, CD’s, books, sheet music, hymnals, magazines, musical plays, correspondences, newspaper clippings, honorary certificates, photographs, and biographical notes.

Lead Guide Me African American Hymnal, 1987. Special Collections, Catholic University of America.

Fr. Rivers was a priest, composer, liturgist, educator, writer, activist, and community leader. Born in Selma, Alabama he became Catholic as a child when his family later moved to Cincinnati, Ohio. He was the first African American to be ordained a priest in the Archdioceses of Cincinnati in 1956. He served as a priest at the St. Joseph Church in the West End neighborhood of Cincinnati and was an English teacher at Purcell High School. Fr. Rivers was a graduate of CUA and continued his graduate studies at Catholic University of Paris, ultimately earning a  Ph.D.  in African American culture and Catholic liturgy for Union Institute in 1978.  Fr. Rivers work was revolutionary particularly after the Vatican II council, which significantly altered Catholic liturgical practices by removing Latin as the dominant language for Mass. This directly influenced Fr. Rivers to incorporate Black gospel music into Catholic liturgy, he was the first to do so. His music was featured at the first English-language Mass in the United States in 1964.

Although the practicum seemed intimidating initially, it provided me with hands-on experience that enhanced my understanding of the information we were covering in class. Each week I would attend class on Tuesday and on Wednesday I spent time working in Special Collections. My class work and practicum were perfectly aligned. It allowed me to apply what I gained in class to a tangible project.

Fr. Rivers’ Books. 1970s. Special Collections, Catholic University.

On my first day, I carefully looked over the acquisition and I looked through each of the boxes to get more of a sense of what was in the collection. I did not make any changes to the materials or reorganize anything. Instead, I created an initial survey and documented everything in the boxes to a shared Google Doc. The collection itself was in excellent condition, there weren’t any items that were deteriorating, and the materials seemed to be in their own order. The vinyl records were in their own box and the books were mostly together. The fourth box only had two items, it consisted of a foot and a half long frame of a certificate to Bonnie Leal signed by Fr. Rivers with two photographs. What stood out the most, were these two binders that were arranged by the donor Gerald Rape. The binders’ items seemed to be in an order. It was an array of items, from photographs, biographical notes, an obituary, newspaper clippings and correspondences. There was also a photograph of Fr. Rivers wearing boxing gloves; it was refreshing to see him in a setting beyond his role as a priest.

I arranged the collection into four series, the first was “Audiovisuals” which consisted of CD’s DVD’s, and vinyl records. Second, was “Publications,” that had books, hymnals, sheet music, magazines, and musical plays. Next, was “Binders,” with this series, I kept the items from the binders in their original order and transferred the materials to acid free folders. My decision to keep the binders in their original order was helpful when it came to organizing the collection. Finally, there was “Oversize,” which was just the certificate to Bonnie Leal and the two photographs.  Initially, the process was tedious, but once I organized each item in the Google Doc, physically organizing the items was effortless. I removed rusty staples and replaced them with paper clips, luckily, I did not damage any papers in the process.

Clarence Rivers, Priest and Boxer. 2002. Special Collections, Catholic University of America.

Once the collection was organized, I began creating the finding aid in ArchivesSpace. The week prior, I had a class assignment to create a mock collection in ArchivesSpace which helped me become familiar with the process. Despite some initial challenges, I received guidance from Abigail Hibbs and Shane MacDonald, and in the end, it was done successfully. Creating the finding aid was my most exciting venture. When it was completed, I sent it to my family and friends, I was very proud.

My most memorable part of the practicum was being with the staff and students in Special Collections and learning about Fr. Rivers. The atmosphere of the Special Collections office was welcoming, and I had the opportunity to learn from everyone. I was able to foster professional relationships. The research I conducted on Fr. Rivers connected me to the collection and I was inspired and eager to process the collection to the best of my ability. Processing this collection assured me that I made the right decision about pursuing a career in Library Information Science.

Special thanks to Shane MacDonald, Alexis Howlett, and Abigail Hibbs for their support and guidance throughout the practicum. For questions about how to access the Fr. Clarence Rufus Joseph Rivers Ph.D. Collection or any others, please visit our contact page. See also the podcast ‘Meet Father Rivers,’ where the author of this post is interviewed.

 

The Archivist’s Nook: Hidden Gallery Walls in the Basement of Aquinas Hall

Posted on by Guest Blogger
Stacks Entrance, Aquinas Hall, Special Collections, Catholic University

Guest blogger, Jisoo Ahn, is a Graduate Library Pre-Professional (GLP) working with CUA Special Collections.

In the Aquinas basement lies a space that Special Collections affectionately refers to as the “Stacks”. Behind an unremarkable door is where we house a significant portion of our archival materials related to American Catholicism and CatholicU history. Our staff, along with a rotating cast of student workers and practicum students, frequent this area throughout the year.

Stacks Rule #1: No food or drinks in the Stacks. It’s crucial to remember that food and drinks—even water—are strictly prohibited in the Stacks. Given the delicate nature of our materials, this rule is essential to preserving the collections for future generations. 

Our Stacks are split into two large rooms: the Blue Room and the Red Room. Our University Archivist, William John Shepherd, named them for the color of the paper on the aisles. We like to keep things as simple as possible around here.

Red Colored Aisle Tags, Special Collections
Blue Colored Aisle Tags, Special Collections

 

 

 

 

 

 

 

As the Graduate Library Preprofessional (GLP) of this office, I spend most of my days immersed in the Stacks. Processing collections and creating finding aids for future researchers is a big part of my role. With fluorescent lights as my primary source of Vitamin D, the Stacks can be a rather dreary environment. I felt compelled to inject some life into the space, not just for myself but also for our dedicated student workers and practicum students. And so, with careful curation, two gallery walls came to life.

The Blue Room’s gallery wall showcases a compelling juxtaposition of our collection’s old and new. I wanted this gallery wall to reflect the breadth of our holdings, so I divided the space into two sections: the right side for the older styles, and the left for the new style. This contrast is evident in the selection of Madonna and Child paintings, each offering a distinct artistic interpretation of this timeless subject.

Starting from the far left, we have a trio of artworks showcasing historic CatholicU campus buildings. To further emphasize the university’s rich history, we’ve included a framed reproduction of a map from November 25, 1895, depicting the area north of campus. This map features Fort Totten and Fort Slemmer, with the latter holding particular historical significance as a Civil War fort, one of 68, defending Washington, D.C. from Confederate forces.

The blue Madonna and Child is a geometric abstract piece by Angela Rooney. Interestingly, Angela’s husband, CUA alumnus Thomas Rooney (1924-2018), was also a renowned sculptor. Following his passing, Angela generously donated a portion of their art collection to our archives.

Right next to that, a circular Madonna and Child, is estimated to be between 200 and 400 years old based on our records. Beyond that, not much else is known. Currently, our office is collaborating with Dr. Christopher Daly, a David E. Finley Fellow at the National Gallery of Art’s Center for Advanced Study in the Visual Arts. Dr. Daly is investigating the painting’s origins. And suggests that the painting might be from the Melzi collection of Milan, based on a 1951 auction catalog. This intriguing possibility hints at a Renaissance masterpiece. However, this claim remains unconfirmed as the art historical investigation is ongoing. 

Interestingly, Dr. Daley has pointed out a historical inaccuracy. The auction catalog mistakenly identified the small figure on the left as Saint Catherine. It’s actually a depiction of the young Saint John the Baptist.

To the right of the circular Madonna and Child hang two oil portraits of young children, attributed to artists in the Durward family. Known for their distinctive styles in still lifes, portraits, and religious paintings, these charming works are believed to depict the artists’ family members.

Handwritten notes on the back of each portrait support this theory. The upper painting is inscribed, “A painting of Mary Thekla Durward (the only child born at the Glen). Painted about 1876.” The portrait below features a young blonde girl with the inscription, “M. Thecla C. Durward, Aged 16, BID pin x. 1880.”

Our collection boasts nearly 40 Durward paintings, including four that were returned to us in 2021 after an extended loan to the Museum of Wisconsin Art. More information about the Durward family can be found here.

This slideshow requires JavaScript.

The Red Room, home to the GLP’s workstation, houses a captivating collection of 14 etchings from the “Romeo and Juliet Suite”. Printed in three distinct color palettes and containing strong elements of both Surrealism and Primitivism, these works are attributed to 20th century Hungarian-born artist Adám Würtz (1927-1994). 

A graduate of Budapest’s Academy of Fine Arts, Würtz has exhibited internationally, including in Hungary, Japan, Russia, Romania, Vienna, and the United States. His original works are held in numerous public and private collections across the globe. It rotates frequently, but my current favorite of this series is the tenth print.

Near our bustling scanner station, where much of our digitization takes place, hangs an official Valamaster replica of a Gaspare Vanvitelli (1653-1736) masterpiece.

Gaspar van Wittel, the Dutch master better known as Gaspare Vanvitelli in Italy, is acclaimed for his groundbreaking work in veduta painting. His profound influence is evident in the art of subsequent generations, notably Canaletto.

A pioneer of the topographical painting genre known as veduta, Vanvitelli, often dubbed “Gaspar with the spectacles,” elevated the style to new heights. Our replica, “Il Bacino di San Marco con il Molo a la Piazzetta” (The San Marco Basin with the Pier and the Piazzetta), captures a stunning Venetian scene. This particular piece is part of the archive’s Magner collection.

This slideshow requires JavaScript.

Our museum collection is certainly a repository of history and art, preserving a wealth of exceptional pieces. Click here to find out more about our holdings. You can also explore our museum’s online inventory via the Museum Objects Catalog. Whether you’re passionate about American Catholic history or simply curious about CatholicU history, please reach out. Even a quick hello is always welcome! 

Special Collections Contact Information:

Email: lib-archives@cua.edu

Phone: 202-319-5065

Office Hours: Monday through Friday 9:00am – 5:00pm

Reading Room Hours: Monday through Friday 10:00am – 4:00pm

Location: The Special Collections office is located in Aquinas Hall, Room 101. 

———————-

Sources:

Daly, Christopher. “New Information on the tondo (Magner M293)” Received by Shane MacDonald, May 15, 2024

Shane MacDonald (Curator, Museum and Digital Collections) in discussion with author, August 2024.

The Archivist’s Nook: Love Letters and Library Science – Processing the Dolores Brien-Leo Dolenski Collection

Posted on by Guest Blogger

Our guest blogger is Erika D’La Rotta, a graduate student in Library and Information Science (LIS) at the Catholic University of America, who completed her LIS practicum at Special Collections in the Fall 2023 Semester.

Dolores Brien and a 1966 letter she wrote to Leo Dolenski. Special Collections, Catholic University.

During the Fall semester, as part of my Archives Management coursework, I had the opportunity to participate in a 50 hour practicum with William John Shepherd, CUA’s Archivist and Head of Special Collections. My project was to arrange and process a small collection of letters, the Dolores Brien – Leo Dolenski Collection, which was generously donated to CUA in 2022 by Mary Ann Holthaus, a long-time friend. The collection contains weekly correspondence between Dolores Brien and Leo Dolenski from 1965-1974, in which they discuss their concerns about the Church, share ideas about their professions, and contemplate contemporary topics of interest.

Dolores was involved in the Grail, a Catholic Women’s Movement and spent time at Grailville, Ohio. Later in her professional career and for the majority of the letters, she was the Director of Career Planning at Bryn Mawr. Leo was a priest and taught Sociology. Their correspondence over ten years dealing with their concerns about the Church and contemporary issues led to their marriage. The collection also contains some newspaper clippings and magazine articles that the two attached to their letters throughout the years.

Leo Dolenski and a 1966 letter he wrote to Dolores Brien. Special Collections, Catholic University.

The opportunity to have hands-on work simultaneously with the classroom learning enhanced my educational experience. I have never worked within the Library and Information Science (LIS) field, but the classroom curriculum provided me with the foundational knowledge, network, and tools that I then applied the concepts on this project.

At the beginning, processing an archival collection seemed daunting! On my first day, I just stared at my box of unprocessed material wondering why I thought hands-on experience was a better option than writing a research paper; however, once I opened the box and looked through the letters to assess the collection, I knew I made the right decision. As I went through the entire collection, I made sure not to rearrange anything. It took me a while to come up with a plan for arranging and describing the collection. Once, I had a processing plan, I reviewed it with John to make sure I was on the right track.

I set out to arrange the collection in one series, arranging the correspondence chronologically by date in three month increments into acid-free folders to minimize the bulkiness of each file folder. The process of reorganizing the collection into 38 folders was a little tedious and extremely time consuming. My organization system included labeling each folder with the collection title, folder title, collection number, box number, and the folder number onto each folder. After labeling all the folders, I realized I had made a mistake with the folder numbers, which required me to start all over! Thank goodness for erasers. Erasing and renumbering took some time, but it was a lesson learned to slow down and always use a pencil. Additionally, I had to remove rusty paper clips from the letters, replacing them with new clips to limit the damage to the paper while preserving the order of the letters. My decision to replace the paper clips was to help keep the pages of the letters together. Fortunately, I managed to remove the old paper clips without tearing any of the letters!

After I arranged the collection, I moved on with developing a finding aid in ArchivesSpace to facilitate future research on this collection. Up to this point, CUA has never utilized ArchivesSpace for its collections, so I was excited to be a part of the Special Collections Department as they were transitioning from Encoded Archival Description (EAD) to ArchivesSpace!

My favorite part of the practicum was being around the Special Collections staff and LIS students. It gave me an opportunity to learn from more than one person and build professional relationships I would not have been able to otherwise.

Special thanks to Hannah Kaufman for scanning letters and photographs. For question about how to access this collection or any others, please visit our contact page.