Jump to: <a href="#collection">Material in the Collection</a> <a href="#about">About the Collection</a> <a href="#resources">Additional Resources</a> <a href="#biography">Leigh Hunt Biography</a>n<a name="about"><h1>About the Collection</h1></a>nn<hr /><strong>About the Digital Collection</strong>n<img src="http://library.missouri.edu/digitalservices/wp-content/uploads/sites/29/2014/10/hunt2.jpg" align="right" width="30%" height="30%" alt="leigh hunt letter" hspace="20" />n<p>The digital collection includes a selection of letters and writing fragments to, from, and regarding <strong>Leigh Hunt</strong>. The collection includes both transcripts and original documents and is organized into categories of correspondences and writing fragments. The collection was digitized using Zeutschel OS 15000. Images were captured in color at 600dpi and saved as .tiff images. Images were cropped and enhanced using Photoshop to improve clarity. </p>n<p>Transcriptions provided by unknown sources are available for many of the documents. Where these transcripts are not available, MU Libraries Digital Services is working to provide corrected OCR and manually generated transcriptions.n<strong>About the Physical Collection</strong>n<p>The collection is housed in the <a href="http://library.missouri.edu/specialcollections/">University of Missouri Libraries Special Collection and Rare Books Department</a>. The collection is organized into four series: correspondence, images of Leigh Hunt, fragments of writing, and miscellaneous documents. It includes letters written to and from Leigh Hunt, as well as letters authored by his son, Thornton Hunt. The collection also includes several letters written after Hunt's death that discuss his work. The writing fragments in the collection are largely authored by Leigh Hunt and include lists, indexes of texts, and pieces of personal writing and poetry. Additional details about the collection can be found in the <a href="https://search.ebscohost.com/login.aspx?direct=true&AuthType=guest&db=cat09109a&AN=mer.oai.edge.umsystem.folio.ebsco.com.fs00001083.0d85a83e.94f7.56e1.9525.fa765144a35b&site=eds-live&scope=site&custid=s8436643&&profile=edsfolio&authtype=sso&groupid=main&profile=edsfolio">catalog record</a>.n<p>Some documents were not digitized. These include three images of Leigh Hunt, a blank post card, an envelope of pressed flowers, and an ad clipping for two letters: one from Leigh Hunt's mother-in-law to her daughter, and one from Bell Hill to Leigh Hunt.n<p>Contact <a href="mailto:digitization@missouri.edu?Subject=Leigh%20Hunt" target="_top">nDigital Services</a> to provide further information or corrections to this collection.n<p><small>Image source: <a href="http://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A95158#page/1/mode/1up">Letter from Leigh Hunt to L. Lawrence.</a></small>n<a name="resources"><h1>Additional Resources</h1></a>n<hr /><strong>Digital Resources:</strong>n<ul>n<li><a href="http://hdl.handle.net/2027/uiug.30112076204806">The Autobiography of Leigh Hunt</a></li><li><a href="http://hdl.handle.net/2027/hvd.32044019350438">The Correspondence of Leigh Hunt</a></li><li><a href="http://hdl.handle.net/2027/hvd.hxg8vs"><em>Juvenilia</em></a></li><li><a href="http://hdl.handle.net/2027/uc2.ark:/13960/t16m37f4x"><em>The Poetical Works of Leigh Hunt</em></a></li><li><a href="http://catalog.hathitrust.org/api/volumes/oclc/2260942.html"><em>The Examiner</em></a></li></ul>nn<strong>From MU Libraries:</strong> n<ul><li><a href="https://search.ebscohost.com/login.aspx?direct=true&AuthType=guest&db=cat09109a&AN=mer.oai.edge.umsystem.folio.ebsco.com.fs00001083.f78c3fd4.df4f.5c05.881b.3c7a0e2e397f&site=eds-live&scope=site&custid=s8436643&&profile=edsfolio&authtype=sso&groupid=main&profile=edsfolio">The Autobiography of Leigh Hunt<a/></li><li><a href="https://search.ebscohost.com/login.aspx?direct=true&AuthType=guest&db=cat09109a&AN=mer.oai.edge.umsystem.folio.ebsco.com.fs00001083.2f3a5a1c.c87a.52f3.84d2.deb6eb0bf3d7&site=eds-live&scope=site&custid=s8436643&&profile=edsfolio&authtype=sso&groupid=main&profile=edsfolio"><em>The Poetical Works of Leigh Hunt</em></a></li><li><a href="http://laurel.lso.missouri.edu/record=b1080506~S1"><em>The Examiner</em> on microfilm</a></li><li><a href="https://search.ebscohost.com/login.aspx?direct=true&db=cat09109a&AN=mer.oai.edge.umsystem.folio.ebsco.com.fs00001083.37c729d7.2f7c.58cd.bce5.35b5e9df44a9&site=eds-live&authtype=guest&custid=s8436643&groupid=main&profile=edsfolio">Selected Writings of Leigh Hunt</a></li></ul>nnThe <strong>University of Iowa's</strong> <a href="http://www.lib.uiowa.edu/sc/leighhunt/">Leigh Hunt: The Letters</a> collection.n<p>Visit the <strong>MU Libraries catalog</strong> for more resources: n<ul><li><a href="https://search.ebscohost.com/login.aspx?direct=true&AuthType=guest&bquery=AR+%26quot%3bHunt%2c+Leigh%26quot%3b&cli0=FT1&clv0=Y&type=1&searchMode=And&site=eds-live&scope=site&custid=s8436643&&profile=edsfolio&authtype=sso&groupid=main&profile=edsfolio">Resources authored by Leigh Hunt</a></li>n<li><a href="https://search.ebscohost.com/login.aspx?direct=true&AuthType=guest&bquery=DE+%26quot%3bHunt%2c+Leigh%26quot%3b&cli0=FT1&clv0=Y&type=1&searchMode=And&site=eds-live&scope=site&custid=s8436643&&profile=edsfolio&authtype=sso&groupid=main&profile=edsfolio&groupid=main&profile=edsfolio">Resources about Leigh Hunt</a></li>n</ul>n<a name="biography"></a>n <h1>Biography</h1>n<hr /><img src="http://library.missouri.edu/catdeptblog/wp-content/uploads/sites/13/2014/11/portrait.jpg" align="right" width="30%" height="30%" alt="leigh hunt portrait" hspace="20" />n<p><strong>James Henry Leigh Hunt</strong>, 1784-1859, was an English poet, essayist, and critic. A contemporary of Lord Byron, Percy Bysshe Shelley, and John Keats, Hunt was an influential particpant in the literary community of 19th century Britain.n<p>Hunt was born October 19, 1784 in Southgate, London, to Isaac and Mary Hunt, and spent his early education at Christ's Hospital in London. He was often ill and afflicted with panic and anxiety attacks, but friends and acquaintances often observed his cheerful and easy-going disposition. In 1809 Hunt married Marianne Kent, with whom he had ten children.n<p>Hunt published his first volume of poetry, <em>Juvenilia</em>, in 1801. The collection was a popular success, and a fourth edition was published in 1804. Soon Hunt began contributing for evening papers and writing theatrical reviews, many of which were gathered in a volume called <em>Critical Essays on the Performers of the London Theatre</em>. In 1808 he became the editor of <em>The Examiner</em>, a weekly publication started by Hunt and his brother that sought to provide impartial political commentary. He would continue to write and edit <em>The Examiner</em> for the next 13 years, during which time he would experience prosecution and imprisonment for his comments on the character of the prince regent. Over the course of his career, Hunt also wrote and edited for <em>The Reflector</em> and <em>The Indicator</em>, and contributed to numerous other publications. He was an accomplished poet, and his most popular works include <em>The Story of Rimini</em>, <em>The Descent of Liberty</em>, and <em>The Feast of the Poets</em>. n<p>Hunt was active in the literary community of Britain and cultivated friendships with numerous poets and essayists of the time. In 1816 Hunt published Keats' sonnet "O Solitude" in <em>The Examiner</em>, bringing him to the literary stage in Britain and facilitating his rise to prominence. He shared a mutual admiration with Byron and formed a lasting friendship with Shelley, who often supported Hunt during his bouts of poor health and financial distress. Hunt was also said to have been the inspiration for the character Harold Skimpole in Charles Dickens' <em>Bleak House</em>.</p>n<p>Hunt died August 28, 1859, after a lifetime of ill health. In the final years of his life Hunt struggled financially and domestically, attempting to care for his wife's failing health and relying on unstable income from his publications. His <em>Autobiography</em> was published in three volumes in 1850; he later revised the volumes shortly before his death. His son, Thornton, published the revised edition in 1860, along with two volumes of his <em>Correspondences</em> published in 1862. He was buried in Kensal Green cemetery, alongside his wife.n<p><small>Image source: <a href="http://laurel.lso.missouri.edu/record=b3564098~S1"><em>The Correspondence of Leigh Hunt, Vol. 1.</em></a> Smith, Elder and Co., 1862.</small>n<a name="collection" />

The Daniel Webster Speeches collection is now freely available in the Hathi Trust Digital Library: <a href="https://babel.hathitrust.org/cgi/mb?a=listis;c=1339450782">University of Missouri Collection - Daniel Webster Speeches</a>.nn<p>Daniel Webster (1782-1852) was a legislator and renowned orator whose speeches in Congress were widely reprinted for public circulation. Webster delivered his first public address as an undergraduate student at Dartmouth and went on to make dozens of speeches throughout his life. He rose to national prominence during the debates over the nullification of tariffs by the states, in which Webster argued for a strict adherence to the federal government and the Constitution. Throughout his long career, Webster's first priority was the preservation of the Union, and he served this goal most famously in his speech of March 7, 1850, on the compromise proposal of Henry Clay.n<p>The Daniel Webster Speeches Collection contains pamphlets of speeches made by and about Daniel Webster, for the most part published during or shortly after Webster's lifetime. The earliest pamphlet in the collection was published in 1806, and the last in 1932. Many of the later pamphlets contain public eulogies made for Daniel Webster after his death in 1852. Webster's most famous speeches are represented in this collection, including his speech on the Compromise of 1850, his addresses on the national bank, and the noted speech at Niblo's Garden. Two autograph letters by Daniel Webster are also included in this collection. The MU Libraries purchased the Daniel Webster Speeches Collection from the Charles E. Tuttle Company of Rutland, Vermont, in 1946. More information about this collection can be found in <a href= "http://libraryguides.missouri.edu/webster">library guide - Daniel Webster Speeches Collection, 1806-1932</a>

<p>The Savitar is the University of Missouri yearbook, which began publication in 1894 and continued as a print publication through 2005. As the University yearbook, the Savitar offers photographs of administrators, faculty, and students, arranged by class, organization, and extracurricular activity. Other photographs include important campus events, such as athletic contests, parades, convocations, and commencements.</p>nn<p>The name Savitar originates from the Sun-god of Rig-Veda, in Hindu mythology. Its root, su, means to dry or stimulate. Savitar and its alternate, Surya, denotes splendor of the luminary and irresistible energy - he is the god who sees all things and notes all the good and evil deeds of men. Nothing can withstand his will and age cannot touch him. Other definitions of the Sanskrit word Savitar include: (1) the sun, worshipped as the god of life and represented as drawn in a car of gold; (2) sometimes shown as a woman, Savatari, who sacrificed herself to save her husband who was trapped in the underworld; and (3) an important god, the sun in its life-giving aspect; (4) used for the Sun God from Vedic mythology; (5) quickener, impeiler, or enlivener.</p> nn<p>As for the choosing of the name Savitar for the University yearbook, research shows that the aesthetic reasons for selection of the name by University students of 1894 were perhaps tempered by more prosaic ones. Among other things, the editors liked the size and sound of the word. The student editors probably got their idea for the title from Professor James Shannon Blackwell, professor of Semitic and modern languages at the University from 1886 to 1897, who was known as a student of Sanskrit.</p> nn<p>Note: The collection also contains the Index, the 1891 yearbook produced by the M.S.U. Athletic Association.</p>

The Council of National Defense collection is now available in the HathiTrust: <a href="https://babel.hathitrust.org/cgi/mb?a=listis;c=1870598579"> University of Missouri Collection - Council of National Defense</a>. nnThe collection consists of publications released by the Council, including bulletins, circulars,and general letters, as well as specialized publications on topics such as war bonds and wartime cooking. Read more about the collection in <a href="http://libraryguides.missouri.edu/c.php?g=955499">library guide - Council of National Defense Collection</a>

<p>This collection consists of several sports publicity posters for University of Missouri Football coaches, teams, and players found in the University Archives of the University of Missouri-Columbia. Coaches and players represented in the collection include Gwinn Henry, Don Faurot, Dan Devine, and Robert Steuber. Among the teams are the Big Six Champions of 1939, 1941, and 1942.

Some of the photographs in this collection are from the University Archives online exhibit <a href="http://muarchives.missouri.edu/1900-.html">Y1.9K: Mizzou in 1900</a>.

This collection is in the legacy University of Missouri Digital Library. Link: <a href="http://digital.library.umsystem.edu/cgi/i/image/image-idx/cgi/i/image/image-idx?sid=f6dcd3e25f73ee45fd4d05c25466ed10;page=index;c=umcaairic"> Mizzou From the Air: 1919</a>n<p>3 Imagesn<p>The images on this page are part of a scrapbook compiled by 1920 MU Civil Engineering graduate, Warren G. Fowler. The scrapbook is part of a larger collection of Fowler's student memorabilia within the holdings of the University of Missouri-Columbia Archives. The entire Fowler collection is available to patrons in the reading room of the UMC Archives (#703 Lewis Hall).n<p>Fowler provided accompanying descriptive text which explains that the photographs are, "Airplane views of the University of Missouri and Columbia. Taken Sept. 1919 from Fred Neidermeyer's airplane." Sadly, he adds that "Neidermeyer was killed in an airplane accident in the Spring of 1922."n<p>MU ID: mu:5218.

<p>Since 1989, the North American Agroforestry Conference series has been co-sponsored by the Association for Temperate Agroforestry and is held every two years. According to AFTA's <a href="http://www.aftaweb.org/">website</a>, the conference is "a major scientific forum for those involved in agroforestry research, extension and application in the US, Canada and overseas".n<p>AFTA defiens agroforestry as "an intensive land management system that optimizes the benefits from the biological interactions created when trees and/or shrubs are deliberately combined with crops and/or livestock. There are five basic types of agroforestry practices today in the North America":n<ul style="list-style-type:disc">n <li>Windbreaksn <li>Alley croppingn <li>Silvopasturen <li>Riparian buffersn <li>Forest farmingn</ul>n<p>In 2009, AFTA celebrated the 20th Anniversary of the conference. The theme was "Agroforestry Comes of Age: Putting Science into Practice" and supported AFTA's mission to "Promote the wider adoption of agroforestry by landowners in temperate regions of North America". Chris and Jen Cunnigham of the Jay Springs Lamb Company gave the first keynote address titled "Sheep, Trees and Direct Marketing in British Columbia". The second keynote was given by Nicola McPherson of Ozark Forest Mushrooms and was titled "From the Hills of the Ozarks to the Bistros of St. Louis".n<p>The 12th North American Agroforestry Conference was held in Athens, Georgia in 2011. The theme was "Agroforestry: A Profitable Land Use". According to the foreward given by Sarah Workman and David Moorhead, "The 2011 biennial conference [highlighted] agroforestry research, implementation, policy, education, and entrepreneurial opportunities across North America". The keynote speakers were:n<ul style="list-style-type:disc">n <li>Kathleen Merrigan, deputy Secretary of Agriculture, U.S. Department of Agriculturen <li>Jamshed Mercange, Assistant Deputy Minister Agriculture and Agri-Food Canadan <li>Dennis Garrity, Director General, World Agroforestry Centren</ul>n<p>The 13th North American Agroforestry Conference was in 2013 and was held in Charlottetown, Prince Edward Island, Canada. According to Chris Pharo and John Kort (co-chairs of the 13th NAAC Committee), the conference "featured over sixty oral presentations as well as over 25 poster presentations covering the range of agroforestry subjects such as riparian buffers, alley cropping and inter-cropping, greenhouse gas mitigation, non-timber forest products and silvopasture". The Poplar Council of Canada also joined the conference and in addition, held their 35th annual general meeting.n<p>In 2015, the 14th North American Agroforestry Conference will be held in Ames, Iowa, USA.

<header>n<h1>About the Collection</h1>n</header>n<hr>nn<p>This collection includes writing fragments authored by <strong>Leigh Hunt</strong>.The pieces in the collection are largely authored by Leigh Hunt and include lists, indexes of texts, and pieces of personal writing and poetry. Each fragment is titled according to the first words of the document. Transcriptions provided by unknown sources are available for many of the documents. Where these transcripts are not available, MU Digital Services is working to provide corrected OCR and manually generated transcriptions.</p>

<header>n<h1>About the Collection</h1>n</header>n<hr>nn<p>This collection features a selection of correspondences to, from, and regarding <strong>Leigh Hunt</strong>. It includes letters written to and from Leigh Hunt, as well as letters authored by his son, Thornton Hunt. The collection also includes several letters written after Hunt's death that discuss his work. Each letter is titled based on the best approximation of the letter's author and recipient. Transcriptions provided by unknown sources are available for many of the documents. Where these transcripts are not available, MU Libraries Digital Services is working to provide corrected OCR and manually generated transcriptions.</p>

You can find additional MU publications in <a href="https://mospace.umsystem.edu/">MOspace</a>, the MU institutional repository. nn<!----------------------------<ul><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/6834">Agricultural Experiment Station publications</a> (including Bulletins, Circulars, and Research bulletins)</li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/58211">Beef cattle reports</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/56978">Black alumni</a></li><li><a href="https://hdl.handle.net/10355/55691">Burning of the University of Missouri, January 9, 1892 : descriptive sketch</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/55424">Deskbooks of the School of Journalism</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/57701">Guides to Special Collections at Ellis Library</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/58392">Legion of Black Collegians publications</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/51249">Missouri School of Journalism Honor Medal Programs</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/53773">Mizzou - the MU alumnus magazine</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/15322/browse?type=dateissued">MUtation</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/58216">Showme magazine</a></li><li><a href="https://hdl.handle.net/10355/55678">A system for the digitization, storage, and display of images</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/53539">Tiger claw</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/54073">University of Missouri bulletin. Journalism series</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/58210">University of Missouri bulletin. Library series</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/55410">University of Missouri College and Department Histories</a></li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/49793">University of Missouri Extension publications</a></li></ul> <li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/58216">Showme magazine</a></li> --------------------->

The Louisiana Purchase Exposition, commonly known as the Saint Louis World's Fair of 1904, was the last great international exposition before the Great War of 1914. The fair, built on a 1,200 acre site, was conceived on a gigantic scale. It included hundreds of thousands of objects, people, animals, displays, and publications from 62 exhibiting countries and 43 of the 45 states. The setting of world's records, such as the largest organ, and working displays of every important technological advance were significant design goals. It was no accident that the 11-volume set, Louisiana and the Fair; an exposition of the world, its people and their achievements (included here) was published by the World's Progress Publishing Co. The Fair itself was a combination of trade show, civic showpiece, monument to cultural self-consciousness and boosterism, along with more than a tinge of American exceptionalism. It betrays the grandiose ambition of the gilded age, forming a kind of collective utterance encompassing the nineteenth century's paean to international understanding in the furtherance of peace, prosperity, and progress. It's a grand snapshot in time of American and foreign societies as they wished to portray themselves.n<p>The documents here are intended to complement existing Internet collections and to further scholarly research and serious inquiry. They are from the collections of the University of Missouri Libraries and University Archives and were selected because they were not yet available on the Internet. Perhaps the most important of these is Mark Bennett's History of the Louisiana Purchase Exposition. The diversity of subjects is huge: veterinary practice, the famous artist Max Klinger, and poverty and relief efforts in Leipzig - and this just from Germany. The Committee on Digitization Initiatives of the MU Libraries hopes that these resources will be useful to the people of the State of Missouri and beyond, and we welcome any comments or questions. n<p>The digitization in 2010 of the resources in this collection was supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by the Missouri State Library, a division of the Office of the Secretary of State.n<p>MU ID: mu:5211.

<p>This collection was the first to be added to the legacy UM Libraries Digital Library. It is very broad in scope and includes material on Missouri history, geology, literature, and the Civil War. Most of the items were contributed by the University of Missouri libraries, but other Missouri institutions also furnished material. The collection is added to as additional material is found. It is one of the more popular collections we have, especially for genealogists, historians, and geologists.</p><p>Additional Missouriana resources are available in MOspace, the University of Missouri Institutional Repository. Two collections that may be of interest are:<ul><li><a href="http://mospace.umsystem.edu/xmlui/handle/10355/49793">University of Missouri Extension publications collection</a> </li><li><a href="https://mospace.umsystem.edu/xmlui/handle/10355/57313">University of Missouri Agricultural Experiment Station publications</a> </li></ul><p>The MU Digital Library <a href="http://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A7427">map collection</a> includes Missouri maps, including Plat books and Sanborn maps for Missouri. The <a href="http://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A7427">Works Projects Administration History Records Survey collection</a> includes inventories of county archives for several Missouri counties.

<p><a href="#volumes">Jump to volumes 1-7.</a></p>nn<p>Vetusta Monumenta (Ancient Monuments), the print series published from 1718-1906 by the Society of Antiquaries of London, is now a monument in its own right: it offers the richest record available of transformations in the study of the cultural past over those 200 years. Artists, scholars, and amateur researchers relied on the visual technologies perfected in this series for envisioning the past, and as their focus shifted over time to different kinds of artifacts and new ways of understanding, the beautiful images in Vetusta Monumenta continued to provide a foundation for new visions of antiquity. </p>nn<p>In addition to the complete set of scans available here, there is also an ongoing digital edition of Vetusta Monumenta, that aims to make the original images and texts accessible through both interactive digital facsimiles and new scholarly commentary. For the digital edition, see <a href="http://vetustamonumenta.org"> http://vetustamonumenta.org.</a></p>nn<p>The first seventy engravings in the series were bound into a volume by the Society in 1747. The decision to consolidate the prints in this way and recirculate them in the form of a plate book proved to be a crucial step toward their preservation. (Not coincidentally, the antiquaries saw engraving as integral to their mission of preserving the monuments themselves, many of which were already decaying at the time of publication and some of which are now altered or lost.) Most readers of Vetusta Monumenta over the last 100 years have only encountered the work as a set of seven bound volumes in a library. The University of Missouri library, where this digital version was created, is fortunate to be one of eleven libraries in the world to hold a complete set. Although they are rare, these volumes have provided far better access to readers and scholars than the few scattered individual prints that survive in various private and public collections. As an open-access digital edition, the online Vetusta Monumenta expands that access to many more users worldwide.</p>nn<p>To a reader of the bound volumes in a modern library, it is not readily apparent that the prints they contain were published one by one over a period of years. Yet the idea of combining them into a book only came up after the series was well established. The digital edition allows the user to approach each individual plate either as a freestanding work, as the original audience did, or as part of a larger whole assembled after the fact. Our international team of expert contributors has provided commentary on the occasion that inspired each print, including the choice of subjects--which ranged from Roman mosaics to ruined castles, from ancient maps to modern portraits to fragments of buildings and manuscripts in just the first three decades of publication--along with zooming and other tools to promote close scrutiny of the individual print. We have also noted changes in method resulting from the gradual drift toward book publication, including verbal explanations of the depicted objects that gradually spilled over from the plates into lengthy letterpress essays printed alongside them. Digital reproduction encourages the close study of each print in its immediate context; the full edition also provides navigation to clarify the connections established--historical, geographic, and aesthetic, among others--when prints were collected into volumes at intervals (1747, 1789, and 1796 for the first three volumes).</p>nn<p>The uniform appearance of the bound volumes belies the remarkable diversity of monuments and styles represented by the individual plates. As early as 1784, a Fellow of the Society of Antiquaries named John Fenn recognized the need for a system of classification to understand what kinds of objects were being chosen for inclusion in Vetusta Monumenta and why. This edition provides a similar kind of thematic overview, but from a twenty-first-century perspective it is also clear that the diversity of subjects reflects change over time in the techniques of visual reproduction and in the organization of knowledge. The Society of Antiquaries itself received a royal charter in 1751 and grew to 800 members by 1820, but even the small group of founders brought a wide variety of skills and interests to the task. If the gifted engraver George Vertue had not joined the society very early in its history, the group could hardly have defined their mission as "collect[ing] and print[ing] . . . all the ancient Monuments that come into their hands." Several other founders, including John Talman and William Stukeley, were skilled draftsmen who supplied preparatory drawings for several of the early prints. Other members of the society influenced the choice of subjects for Vetusta Monumenta by providing access to objects or drawings from their collections, by using their local influence in regions where antiquities were located, or by using their positions in other institutions that held artifacts or monuments, such as the College of Heralds and the Tower of London.</p>nn<p>By the nineteenth century, this network had expanded greatly and an increasing number of professionals contributed to Vetusta Monumenta, making it a superb record not only of antiquities found in Britain but also of methods and techniques for the discovery of the past. Fenn's classification of the prints in 1784 registers this historical sense of the print series as a record not only of objects but of evolving methods in the discipline. His survey of seven included types of monuments, though slightly haphazard, still provides the most compact introduction to Vetusta Monumenta: I. Antiquities (British, Roman, Saxon, Danish); II. Coins, Medals, and Seals; III. Castles, Palaces, Gates, Crosses; IV. Abbeys, Churches, [and related architectural features]; V. Portraits; VI. Historic Prints and Processions; VII. Plans, Maps, and other Prints.</p>nn<p>A digital scholarly edition of Vetusta Monumenta Volume I is available at <a href="http://vetustamonumenta.org">vetustamonumenta.org</a>n n<a name="volumes" />

As part of Undergraduate Research Week at Mizzou, the Spring Forum will showcase undergraduate scholarship performed on the Mizzou campus. For the 2022 Spring Forum, we are planning an 'in-person' event on central campus (COVID allowing). Here are some important dates for the 2022 Spring Forum:nn April 18th & 19th – 2nd floor Memorial Union Northn Spring Research and Creative Achievements Forumn In-person 90-minute poster sessionsn In-person short oral presentations as part of the Humanities Symposiumn April 20th, 4pm – Leadership Auditorium in the MU Student Centern Humanities Symposium Keynote Speaker, Dr. Tim Carsonn April 21st, 3pm – Leadership Auditorium in the MU Student Centern Humanities Symposium Student Panel Discussionn April 22nd, 2pm – UGR Week at Mizzou Closing Ceremony