Renaissance-Era Object Sparks a Cross-Campus Collaboration

One specific drawing among the 28 in Maria Magdalena's book became a point of focus for Mattison. Shown above, the Crucifixion is by Johannes Wierix, a master 16th-17th-century Flemish engraver and draftsman. Mattison, who specializes in Netherlandish art, was excited about this discovery as he was a “significant” artist “whose drawings are rare and important.”

When she first encountered Maria Magdalena's book of hours, Mattison was in the early stages of developing an exhibition to showcase early modern drawings from the Hood Museum’s collection. The drawings in Maria Magdalena's book seemed like a natural—and essential—addition that would enrich her planned show.

The team's approach was twofold. First, they assessed the bindings' stability to ensure the book could be displayed open without causing damage. During the assessment, they also noticed that several drawings required re-adhesion and minor paper mends, which were meticulously fixed. 

The second stage, currently in progress, involves digitizing the book of hours. Mattison considered how the book has two volumes, but you can only see two pages at a time when it’s on display. With a digital supplement, museum visitors can browse through the book’s contents alongside the physical object. To prepare and undertake the extensive photography required, the team enlisted Ryland Ianelli, Still Images Digitization Specialist at the Libraries. Once ready, the digital version of Maria Magdalena's book of hours will be available to everyone to explore the world contained within. 

Her “collection” of art suggests these works were intimate reminders of the individuals who gave them to her. Mattison adds that Maria Magdalena's relationships are “given material form by the drawings themselves, often accompanied by beautiful notes, like 'Pray for me,' or 'Keep me in your thoughts,' or 'I love you.'” 

Mattison continues, “The drawings’ signatures tell us there is really great affection between all of these relations, most of whom are Habsburg family members...the Medicis, the Gonzagas... The notes give a sense of intimacy across what would have been vast geographic distances in this period, and the drawings are a kind of permeable way of traversing that distance.”

Fruitful Collaborations

Reflecting on the process—from discovery to research to preservation and digitization—thus far in preparing the exhibition, Mattison shares, “Our research never happens in a vacuum, but rather it grows out of a series of conversations.” She has found the Libraries' and Hood Museum’s cross-campus partnership to be “an especially fruitful one.” She adds, “Any work is better when it emerges from collaborative effort and sharing of resources, so I’m really delighted that the Libraries’ teams have been so game to join me on this investigation of drawings at Dartmouth.”

Elena Cordova, Head of Collection Management & Preservation, extends that sentiment. “Technical expertise coupled with a reverence for material culture is what drives the conservation program at Dartmouth Libraries. It’s why our partnership with the Hood feels so natural.”