The cataloging workflow works in mysterious ways.
Earlier this year, when Benedict XVI’s resignation triggered a papal conclave, I took the opportunity to write a post about Gaetano Sertor’s Conclave dell’anno 1774, two copies of which I had recently cataloged. That very week, elsewhere in Collection Services, a manuscript of the libretto (Case MS V 461 .7743) landed on someone else’s desk. The flurry of research by Alan and Jessica revealed nuances about the work’s history and publication that were necessary to distinguish its incarnations in our collection, which actually number five: the manuscript, an authentic edition, two counterfeit editions, and a French edition.
In the Bibliografia universale del teatro drammatico italiano, Salvioli and Salvioli attribute the work not to Sertor — who went to prison for its content — but to Prince Sigismondo Chigi. They also go into detail about the distinguishing characteristics of the counterfeit editions. The pictures below show our three Italian editions: Case oML 50.2.C66S47 1775 (BLC 14); Case oML 50.2.C66S47 1775c (BLC136); Case oML 50.2.C66S47 1775b. The French edition (F 46 .655 v. 23 no. 16), cataloged in January, is in our collection of Dutch pamphlets, also cataloged as part of the CLIR project.