Paul E. Cohen\u00a0is the coauthor of\u00a0Manhattan in Maps\u00a0(New York: Rizzoli, 1997), which received the New York City Book Award in 1997. He is also the author of\u00a0Mapping the West\u00a0(New York: Rizzoli, 2002) and the coeditor of\u00a0American Cities\u00a0(New York: Assouline, 2005). He is a partner in Cohen & Taliaferro LLC, New York City, dealers in rare books and antique maps. He is also the author of “Castles, Skyscrapers, and the Charles V. Paterno Library,” which appeared in the Fall\/Winter 1986 issue of Italian Americana. \u00a0When the Italian Institute at Columbia University was the Casa Italiana, its library was called the Charles V. Paterno Library. \u00a0The building is still the Casa Italiana and the library currently houses the Paterno Collection. <\/div>\n<\/div>\n
Anyone consulting the mid-nineteenth century catalogs of New York City\u2019s two oldest libraries would be struck by the astonishing number of Italian books recorded.\u00a0 There are as many works of Italian fiction listed in the topically arranged 1839 Columbia College catalog as there are works in all other literatures combined, including English.\u00a0 In this manuscript catalog, \u201cRomaic, Latin, Spanish, French and English\u201d fiction constitutes a single group while the Italian entries are so numerous that that language merits its own category.\u00a0In 1838, a disproportionate number of Italian books are also entered in the printed catalog of the New York Society Library.\u00a0Did Italian studies really rank so high among Columbia College students and members of the New York Society Library in the 1830s?<\/p>\n
This unexpected surge of interest was the result of a single-handed crusade by Lorenzo Da Ponte to introduce Italian culture to America.\u00a0Remembered today as the librettist of Mozart\u2019s most famous operas, his was one of the most picaresque lives of the late eighteenth and early nineteenth centuries, perhaps rivaled only by that of his friend Giacomo Casanova.\u00a0 As Professor Joseph Russo of Columbia\u2019s Italian department wrote, \u201cSeldom, if ever, indeed, had a man of more interesting personality come to these shores from Europe.\u201d\u00a0 Born in 1749 near Venice, he was the son of a Jewish father who converted to Roman Catholicism to remarry.<\/p>\n
Da Ponte\u2019s young manhood was spent attending seminary, taking holy orders, teaching literature and writing librettos.\u00a0 Despite these respectable pursuits, by 1779 he was living such a dissolute life in Venice that he was charged with adultery and banished from the city.\u00a0 It was in Vienna in 1782 that a well-known incident occurred involving his teeth.\u00a0 Suffering from an abscessed gum \u2013 the story goes \u2013 Da Ponte sought relief from Dr. Doriguti, a physician who had fallen in love with a woman who preferred Da Ponte.<\/p>\n
Seizing this opportunity to eliminate his handsome rival, the doctor prescribed a mouthwash of nitric acid.\u00a0Within a week, every tooth in Da Ponte\u2019s mouth had fallen out.<\/p>\n
Notwithstanding the loss of his teeth, the Viennese years were the most productive of Da Ponte\u2019s long life.\u00a0 He was named \u201cPoet of the Italian Theatre\u201d to the Hapsburg court of Emperor Joseph II, which led to a partnership with Wolfgang Amadeus Mozart.\u00a0 That evolved into \u201cone of the most successful collaborations in opera history.\u201d\u00a0 With Da Ponte writing the librettos, Mozart composed his greatest operas, The Marriage of Figaro, Don Giovanni and Cosi fan Tutte.\u00a0 When Joseph II died in 1790, Da Ponte lost a patron and protector from the intrigues of the court.\u00a0 \u201cSacrificed to hatred, envy, the interests of evildoers;\u201d he wrote in his Memoirs, after the partnership with Mozart had ended, \u201cdriven from a city where I had lived on the honourable earnings of my talent for eleven years!\u00a0 Abandoned by friends.\u201d\u00a0 Mozart\u2019s disgraced collaborator surfaced in London in 1793 where he operated an unsuccessful shop specializing in Italian books.<\/p>\n
By 1805 he was financially ruined and facing debtors\u2019 prison.\u00a0 Da Ponte fled to America where he hoped his run of bad luck had run its course.\u00a0 The foremost librettist in the world began life in the New World as a grocer in Elizabeth, New Jersey.<\/p>\n
A chance encounter with Clement Clark Moore in 1807 launched Da Ponte\u2019s career in New York.\u00a0 Moore was the Professor of Oriental and Greek Literature at Columbia College, and he met the urbane grocer at Riley\u2019s bookshop on lower Broadway.<\/p>\n
They fell into friendly conversation, and Da Ponte impressed Moore with his easy familiarity with the classics and fluent Hebrew and German.<\/p>\n
The professor soon learned that in addition to Da Ponte\u2019s numerous talents and accomplishments, he was also personally acquainted with many of the most cultivated men in Europe.\u00a0 A friendship quickly ripened between the two men, and with introductions from the socially prominent Moore, Da Ponte was soon being lionized by the literary elite of the city.<\/p>\n
After devoting a few years to teaching private classes in Italian, in 1825 Da Ponte won an appointment at Columbia College.\u00a0 At the age of 76, he became America\u2019s first Professor of Italian.<\/p>\n
1825 was the watershed year for Italian studies in New York.\u00a0 When the Italian Opera Company arrived in the city that year, the just appointed professor organized and promoted the first operas performed in America.\u00a0 Taking advantage of the quickening enthusiasm for all things Italian, Da Ponte established a relationship with the New York Society Library and founded the Italian Library Society there.\u00a0 In May of 1827, Da Ponte announced that he had placed some 600 books in the Italian library and expected to add another 400 when they arrived from Europe, the whole to contain \u201cthe flower of our literature in all the useful arts and sciences.\u201d\u00a0 A list of these books can be found in the Catalogue of Italian Books, Deposited in the N. Y. Society Library for the permanent use of L. Da Ponte\u2019s Pupils and Subscribers (New York, 1827).<\/p>\n
Forty-six \u201cSubscribers to the permanent Library\u201d are named in the original subscription book of the Italian Library Society.\u00a0 A number of these subscribers were also diligently studying Italian with Da Ponte.\u00a0 Shares were sold for five dollars, most subscribers buying one or two (Gulian C. Verplanck purchased five), and $340 was raised in this way.\u00a0 Several were bought by Columbia professors, among them Clement Moore, who had been a trustee of the New York Society Library since 1811.\u00a0 Lorenzo Da Ponte himself purchased a share, setting a good example and entitling him to such privileges of membership as checking out books.<\/p>\n
The word \u201cpermanent\u201d crops up several times in connection with these books, so it comes as a surprise that in April of 1830, Philip Jones Forbes, the librarian of the New York Society Library, reported that \u201cMr. Da Ponte has taken away all of the books he has deposited in the Library from time to time \u2013 excepting those sold to the Italian Library Society.\u201d\u00a0 Almost sixty Italian authors were represented on the list of books that had been sold to the Italian Library Society at a total price slightly higher than the amount raised by subscription.\u00a0These books were absorbed into the New York Society Library where they remain to this day.<\/p>\n
The New York Society Library\u2019s printed catalog of 1838 includes these along with fifty-five additional volumes of the Edizione di Classici Italiani, the gift of Messrs. Clement C. Moore, Gulian C. Verplanck, and John I. Morgan.\u00a0 Da Ponte favored these particular editions of Galileo, Cellini, Redi, and others, and it is likely that he persuaded his friends to purchase the series for the Society.<\/p>\n
There are no special markings in the New York Society Library\u2019s Italian books, but it can be assumed that most, if not all of the titles that also appear in the Catalogue of Printed Books. . .[for] L. Da Ponte\u2019s Pupils and Subscribers, came from Da Ponte.\u00a0 As a subscriber to the Italian Library Society, he was authorized to check books out, and the subscription book, which includes circulation records, indicates that Da Ponte was the heaviest user of the Italian books.<\/p>\n
On May 15, 1830, for example, he borrowed volumes two and three of Storia Fiorentina di Messer Benedetto Varchi (a five-volume set) but did not return them.\u00a0 After the books were long overdue, a librarian penciled next to the entry in the subscription book \u201cstill out.\u201d\u00a0 The New York Society Library\u2019s on-line catalog indicates that volumes two and three are lacking and presumably still checked out to the librettist.<\/p>\n
At the same time that Da Ponte was overseeing the Italian Library Society, he was attending to his academic duties at Columbia College.\u00a0 The toothless and elderly professor must have seemed out of place among the other members of a faculty that consisted almost entirely of Columbia alumni.\u00a0 Fortunately, Da Ponte\u2019s two closest friends in America were his colleagues, Clement Moore and his cousin Nathaniel Moore, the librarian who compiled the 1839 catalog of the Columbia College library and a future president of the college.\u00a0 The Professor of Italian had no fixed salary but was paid according to the number of students who enrolled in the elective course.\u00a0 Da Ponte attracted several students to the class in his first year at the college, but none signed up the second year.<\/p>\n
In fact, after that first year, he never had another student, though he remained on the faculty for thirteen years. \u201cProfessor sine exemplo\u201d (Professor without parallel) is the way Da Ponte characterized the mostly studentless years of his academic career.<\/p>\n
When Professor Da Ponte arrived on campus in 1825, he discovered that the only Italian book in the library was a tattered Boccaccio.\u00a0 To remedy the deficiency \u2013 and to help with his recurring financial difficulties \u2013 early in 1826 he offered the library 263 Italian books for $364.05 and, on the recommendation of Clement Moore, 161 were purchased for $243.17\u00bd.\u00a0 During his years at Columbia, Da Ponte continued to import Italian books at a faster pace than he could sell them, though eventually he also numbered the Library of Congress and the Library Company of Philadelphia as his clients.\u00a0 In 1830 he opened his own bookshop:\u00a0 \u201cMy customers are few and far between,\u201d he forlornly wrote in his Memoirs, \u201cbut I have, instead, the joy of seeing coaches and carriages drive up at every moment before my door and sometimes the most beautiful faces in the world emerge from them, mistaking my bookstore for the shop next door, where sweets and cakes are for sale.\u201d<\/p>\n
By 1831, the number of books on his shelves had swollen to 3000 volumes of \u201cthe most beautiful pages of our literature.\u201d\u00a0 A financial crisis that year forced the luckless bookseller to put some 2000 of them in auction.\u00a0 \u201cAlas, fate takes from me my only treasure!\u201d he wrote as he said farewell to the books.\u00a0\u201cDeath would have been less bitter than this last farewell.\u201d\u00a0 He was almost ninety when he died in 1839.<\/p>\n
According to the Columbia University website, the Italian department is still \u201cDrawing on a distinguished history initiated in 1825 by Lorenzo Da Ponte.\u201d\u00a0 It has a Lorenzo Da Ponte professorship and his portrait hangs at the university\u2019s Italian Academy, formerly the Casa Italiana.\u00a0 The New York Society Library has a specially designated \u201cDa Ponte Collection\u201d that can be located on its on-line catalog through an author search.\u00a0 The 55 titles, comprising 247 volumes of the \u201cthe flower of our literature\u201d are on the Special Collections shelves in the library.\u00a0To this day, the two libraries are noted for their strong holdings in Italian literature.<\/p>\n","protected":false},"excerpt":{"rendered":"
Lorenzo Da Ponte in New York City Anyone consulting the mid-nineteenth century catalogs of New York City\u2019s two oldest libraries would be struck by the astonishing number of Italian…<\/p>\n","protected":false},"author":2,"featured_media":340,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-335","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays"],"yoast_head":"\n
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