Archives Hub feature for July 2018

Cambridgeshire Archives is privileged to hold the records of the Bedford Level Corporation. This significant archive, which includes records of Commissions of Sewers dating as far back as 1362, documents, arguably, the greatest land reclamation seen in the country’s history; the drainage of the Fens.

2018 marks the 200th anniversary of the commencement of work on one of the more controversial and problematic drainage projects undertaken; the Eau Brink Cut.

The Great East Swamp

Piecemeal attempts to drain the Fens (commonly referred to as the Great East Swamp and described by William Elstobb as the “deep and horrible fen”) enabling more land to be brought in to use for summer grazing began in medieval times. The swampy conditions were due to the constant tidal flooding of the Ouse, Nene and Welland which would overspill their natural banks causing widespread crop damage and creating an ideal environment for diseases such as malaria, known locally as Fen ague. Yet, this watery landscape also provided a livelihood peculiar to Fen dwellers who were unwilling to give up a traditional way of life trapping eels and fish and shooting wildfowl.

In 1630, despite local opposition, Francis 4^th Earl of Bedford contracted with a number of landowners to drain, within six years, the area of the Southern Fen afterwards known as the Bedford Level. Sadly, the records of the work carried out over this period were stored in the Fen Office at the Inner Temples Chamber and largely destroyed during the Great Fire of London.

The Society of Adventurers and Cornelius Vermuyden

After the Civil War, Francis’ heir, Sir William Russell, 5^th Earl of Bedford  with some of the original ‘Adventurers’ and other interested parties, picked up the work again, this time with the aim of  making the Bedford Level ‘winter ground’ capable of growing crops which could sustain cattle over the winter months. Under the Pretended Act of 1649 they came to be known as the Bedford Level Company or the Society of Adventurers. The Dutch engineer, Cornelius Vermuyden, who had been commissioned by Charles I in 1626 to drain Hatfield Chase in the Isle of Axholme in Lincolnshire, was appointed Director of Works. 

That same year, Jonas Moore took up office as Surveyor to the Bedford Level Corporation and was charged with producing ‘one general Complete Map of the whole Levell of the fennes with the Adventure Land and lott devisions.’ It was to become the finest map of the Bedford Level ever published but Moore did not live to see its release in 1658.

The Great Levell of the Fenns…drained

One of the many projects directed by Vermuyden was the construction of the Denver Sluice near Downham Market intended to ‘’force the tidal waters in a straight course up the Hundred Foot river, instead of allowing them to flow in their natural and more circuitous channel up the Ten Mile, or Ouse River.’  It was a heavily criticised undertaking, blamed, ironically, for causing flooding in the South Level of the Fens and the build-up of silt and sand downstream which proved injurious to navigation in the port of King’s Lynn. After a particularly high tide ‘blew up’ the sluice in 1713, merchants in the towns enjoying unobstructed navigation campaigned, unsuccessfully, against its reinstatement and it was reconstructed in 1748 by Charles Labelve.

The Eau Brink Cut

 There is a wealth of material to be found in the Corporation’s archive, correspondence, reports, minutes and plans, for anyone wishing to trace the long and contentious struggle to come up with an effective and affordable means of improving the Ouse near King’s Lynn.

The eventual cost of obtaining the first Eau Brink Act, in 1795, was nearly £12,000. Further delays ensued so it is this year, 2018 which marks the 200th anniversary of the actual commencement of work on the Eau Brink Cut, a two and a half mile straight channel dug between St German’s Bridge and Lynn to provide an alternative route to the existing six mile bend in the Ouse.

 Shifting sands

 The construction of the Eau Brink Cut, under the aegis of engineers Thomas Telford and John Rennie, took nearly 4 years then, in April 1822, only a few months after the new cut was opened, they submitted a report recommending the channel be widened since a bank of sand and mud had already formed extending about 400 feet upwards from Denver Sluice.

The humble petition of John Owen

 John Owen blamed the Eau Brink Cut for the destruction of his smelt fishery and having leased fishing rights in the Hundred Foot River for almost 40 years, petitioned the Corporation for a reduction in his rent so he could afford the £200 needed to invest in new nets and other equipment. Thousands of other memorials and petitions presented to the Corporation, all individually catalogued, now help document the personal impact of the monumental endeavour which was the draining of the Fens.

Sue Sampson
Public Services Archivist
Cambridgeshire Archives

Related

Records of the Bedford Level Corporation, 1630-1920

Browse all Cambridgeshire Archives collections on the Archives Hub.

All images copyright Cambridgeshire Archives and reproduced with the kind permission of the copyright holders.

Archives Hub feature for April 2018

In 2017 the Salvation Army International Heritage Centre purchased the diary of a British Salvation Army officer serving in Switzerland in 1883 from a rare book dealer [TNG/1]. The cost of the purchase was covered by a grant from the Friends of the National Libraries. Lieutenant Richard Greville Thonger was one of the first group of Salvationists to arrive in Switzerland in 1882 and his diary records the opposition faced by The Salvation Army, including his own imprisonment. You can read more about the diary and its author on our blog.

This diary joins many others already held in our archive, including the diaries of The Salvation Army’s founder, William Booth, and those of members of his family. Among them are three volumes written by his daughter-in-law, Florence Booth (nee Soper), in which, alongside accounts of her evangelical work and raising a young family, are details of her involvement in the campaign to raise the age of consent to 16 via the passing of the Criminal Law Amendment Act in 1885.

Just as Thonger’s diary gives a detailed account of the work of The Salvation Army in Switzerland, several other diaries in our archive look at the work of other Salvation Army ministers (known as ‘officers’) from all over the world. To take just three examples, we hold diaries written in Sri Lanka, Italy and Indonesia.

Captain John Lyons (1860-1940) was originally from Donegal in Ireland but was appointed to India as a missionary officer in 1886. At this time Salvation Army missionaries adopted Indian names and John Lyons became Dev Kumar. He was then transferred to Ceylon (now Sri Lanka) in 1888 and the 3 diaries we hold date from this period. At the end of 1893 he returned to Britain with his “health broken” and his diary for that year records his mixed feelings about Ceylon. Lyons shows a deep affection for the country, writing that “with the tall coconut trees […] shading this lovely spot […] my heart is drawn out to God for His goodness & His wonderful works to the children of men.” However in moments of frustration he writes of “all the trouble to our work here in Ceylon” and that “I am sure it must be an abomination to God when He looks down upon this lovely island of ours.” However, his regret at leaving is palpable in the entry for Christmas Day: “I was far away in Ceylon last year in that sunny land; here I am among the cold of England. Everything seems so very strange, few people I know, all seems so changed. I went and seen Captain Stone who has been home from India about 12 months. He loves India as ever.” In 1945 The Salvation Army published one of its series of ‘Liberty Booklets’ about John Lyons written by Arch Wiggins and called ‘Lyons in the Jungle.’

We hold copies of manuscript extracts from the diaries of Adjutant Raffaelo Batelli (1870-1941?), an officer with The Salvation Army in Italy (called l’Esercito della Salvezza in Italian). These extracts include details of his early life in Florence and recount that Batelli, originally a Catholic, encountered The Salvation Army on 16 June 1895 and was immediately converted (“conosco l’Esercito della Salvezza e mi converto. Alleluia!”). He befriended Major (‘Maggiore’) John and Elizabeth Gordon who lived in Italy and who had become Salvation Army converts in the 1880s. Batelli referred to himself as their “spiritual son” and regularly travelled with them to Britain in the late 1890s.

When John Gordon died after a tram accident in Edinburgh in 1902, Batelli accompanied Margaret to the funeral in Scotland. The extracts are in Italian and the original diaries are believed to have been destroyed.

Lt-Colonel Leonard Woodward (1883-1950) became a Salvation Army officer in 1903 and, after serving in the UK and Ireland, went to the Dutch East Indies (now Indonesia) as a missionary in 1916. His diaries cover the period from 1927 to 1950, during which time he and his wife, Maggie, were stationed in Java and Celebes (now Sulawesi). The early diaries include reference to many days spent on horseback riding between villages in the highlands of Sulawesi, often “very hot [and] hungry”. The diaries also record the years Leonard and Maggie spent in the Kampong Makassar civilian internment camp in Java after the Japanese invasion in 1942. The couple were separated and Leonard alleviated his daily forced labour (‘corvée’) by practicing his language skills: writing a diary in Uma, producing a concordance of New Testament names in Malay and discussing Toraja languages with an interned philologist.

Leonard and Maggie were released in September 1945 and, when they were reunited he wrote “M. looked very thin and aged, wrinkled and scraggy, which was just the impression she got of me.” They returned to the UK in 1949, bringing with them a large collection of ethnographic objects from Celebes, some of which are now held by the National Museums Scotland.

Salvation Army International Heritage Centre
William Booth College, London

Related

Explore all Salvation Army International Heritage Centre collections on the Archives Hub.

Salvation Army International Heritage Centre website

All images copyright Salvation Army International Heritage Centre and reproduced with the kind permission of the copyright holders.

Archives Hub feature for February 2018

In 2018 a project will commence to restore and enhance Canterbury Cathedral’s organ, due for completion in time for the 2020 Lambeth Conference, when Anglican bishops from all over the world assemble in Canterbury. The first organ was installed at Canterbury in the 12^th century although it is believed that unlike its modern counter part, it was not viewed as a musical instrument, rather “a producer of cheerful though fairly random noise.”[1] The current organ was built in 1888 and underwent a number of renovations in the twentieth century. To mark the commencement of the Organ Project, funded through the Canterbury Cathedral Trust, here is an enticing overture of musical collections held by Canterbury Cathedral Archives and Library.

Music in the Aisles

There has been a tradition of music as an integral part of worship at Canterbury Cathedral since its foundation over 1,400 years ago and there is evidence of this in both the fabric of the Cathedral itself and the collections it holds. The Cathedral’s medieval archive was added to the UNESCO UK Memory of the World Register in 2016. This outstanding nationally significant collection includes over 8,000 charters, 30 of which date from before 1066. The collection of medieval music of the Cathedral is principally made up of fragments of music manuscripts from the 11^th century onwards. This is partly as a result of the practice of music manuscripts being reused when the music became obsolete during the Middle Ages, and then later due to the Cathedral’s service books being mostly destroyed, dismantled or given away after the Reformation. A number of music fragments were re-used to bind later manuscripts, such as the fragment of 14^th or 15^th century antiphonal music pictured below, which was re-discovered in 1937 as part of the cover of a Court Book (CCA-DCc/AddMs/128/9).

A number of missals are also included in the collections held by the Cathedral Archives and Library. The Plumptre Missal is a particularly fine example of a Sarum Missal containing all the text and music required to celebrate mass and the variations for feast days (CCA-U53/1). Illuminated throughout this mid fourteenth century missal was written at the request of the Stathum family, lords of Morley, Derbyshire, presumably for use in Morley Church. The missal included in the collection of records from St Augustine’s College, a Canterbury based missionary college, is believed to have originally been used by All Saints’ Church, Woodchurch in Kent (CCA-U88/B/6/1). The missal, which is in two columns in red and black ink, with simple illuminated initials in blue and red and a small number of further illuminated borders for certain feast days, is extravagant for a parish church and possibly the gift of a wealthy donor. It shows evidence of having been heavily used since the time it was written circa 1430.

Records relating to the Cathedral Choir are a significant part of the Cathedral’s collection of music. The archive holds the various part books used by the choir from the seventeenth century to the present day (CCA-DCc/MusicMS). These manuscripts include service settings and anthems for contratenor (alto), tenor and bass voices and comprise music for the choir, the organ and, occasionally, other instruments. The records of the Canterbury Cathedral Choir School (CCA-U166) contains accounts, administration files, records relating to pupils and performances and a wonderful series of photographs dating from 1881 onwards. This archive provides an insight into all aspects of the life of a chorister, including worship, musical practice and performance, study and leisure.

Music in the Streets

In addition to the religious music one would expect in a Cathedral archive the collections also contain a surprising range of secular music and music ephemera as part of the wide range of collections held on loan. Examples include handbills and programmes for musical and theatrical performances in the collection of personal diaries, notes and memorabilia of Alfred E. Johnson, a Canterbury based sugar-boiler (CCA-U520/6), and a collection of music hall patriotic song sheets held as part of Furley Solicitors Records (CCA-U51/44), both from the nineteenth and twentieth centuries.

Most notable are the records of the Canterbury Catch Club, a musical members’ only society formed in 1779 (CCA-CC-W/7). The members met every Wednesday evening between October and March until it disbanded in 1865 to indulge in music making, alcohol, tobacco, and a considerable amount of merriment. While all members were expected to participate in the performance of amusing ‘catches’, the more technically challenging ‘glees’ were left to those more adept which would have included musicians employed by Canterbury Cathedral. Further music was provided by an orchestra funded out of the subscription fees, and occasional visiting musical celebrities.  The minute books of the society along with volumes of music performed by the Catch Club form part of the City of Canterbury’s large and varied archive which is housed at the Cathedral.

You can find out more about collections on the Canterbury Cathedral webpage: https://www.canterbury-Cathedral.org/heritage/archives-library/.

Ashleigh Hawkins, Archivist
Canterbury Cathedral Archives and Library

[1] “The Liturgy of the Cathedral and tis Music, c.1075-1642” Roger Bowers, A History of Canterbury Cathedral, P. Collinson, N. Ramsay and M. Sparks 2002, p 417

Related

Records of the Dean and Chapter of Canterbury Cathedral, c800 – [ongoing]

All Canterbury Cathedral Archives collections on the Archives Hub.

All images copyright of the Chapter of Canterbury and reproduced with the kind permission of the copyright holders.

Archives Hub feature for December 2017

As winter rolls in and Christmas looms around the corner, it’s fascinating to reflect on how nostalgia shapes this most memorable of seasons. When it comes to British festive traditions, one stands out more than most: pantomime.

Pantomime is a uniquely British institution – it’s always fun trying to explain it to international friends! Here at the University of Kent, we’re incredibly lucky to be celebrating the arrival of one of the largest collections of historic pantomime material in the UK: our David Drummond Pantomime Collection. We’re working in partnership with our local museum and art gallery, The Beaney House of Art and Knowledge, and one of the most famous producers of pantomime in Kent – The Marlowe Theatre. Between November 2017 and February 2018, all are welcome to come and view material from our newest collection in a very exciting exhibition called ‘Oh yes it is!’, a free display hosted at The Beaney art gallery in Canterbury city centre.

The David Drummond Pantomime Collection explores the development of pantomime from its 17^th century origins in Italy, to its critical period of transformation and popularity in the Victorian era, to the celebrity-filled extravaganzas we know and love today. The collection itself is a goldmine of beautiful illustrations, rare playbills and posters promoting shows and wonderful ephemera including an entire box filled with pantomime badges. Whilst exploring the collection in preparation for The Beaney exhibition, SC&A staff were struck by just how many galleries we could fill just from one collection alone.
What’s equally fascinating to us here at Kent, however, is how well the David Drummond Pantomime Collection complements our existing theatre collections. Rather than spoiling our newest acquisition for you, we thought we’d take a look at how pantomime is explored through our extensive archives of Victorian and Edwardian theatre…

Melville Collection: Walter, Fred and the Lyceum theatre

The Melville collection is the archives of a dynasty of thespians: the Melville family. Spanning two centuries and several generations, there was barely an area of theatre that the Melvilles left untouched: they owned theatres (notably the Prince’s and the Lyceum – now known as the Shaftesbury – in London), wrote and produced plays and acted in productions.

Whilst Walter and Frederick Melville shared an intense sibling rivalry, they are well known for collaborating on moral melodramas about women, widely referred to as ‘the Bad Women plays’. However, they were equally well known in the early 20^th century for their elaborate pantomimes they produced at the Lyceum theatre, which the brothers shared ownership of. Their pantomimes were long – with up to 19 scenes and 4 tableaux in a single performance, audiences certainly got their money’s worth!

The takings books held in the Melville collection show how popular pantomime was, running throughout the Christmas season well into the following year. The exception to this was during the winter of 1916 – 1917, when the popular war drama ‘Seven Days’ Leave’ was such a hit with Lyceum audiences that the brothers skipped the pantomime for that year. The takings books show how much money was generated each week through performances, and the Melvilles certainly did well out of popular theatre – when Fred and Walter died in the early 1930s, they left a fortune of £519,000 – about £19 million in today’s terms.

The other items in the Melville collection provide a unique insight into the theatrical profession: we hold cast lists and playscripts for pantomimes, many photographs of the theatres, the family and the actors, correspondence and promotional programmes.

Pettingell Collection: from Arthur to Frank via Drury Lane

Some of the scripts for the Melville pantomimes can be found in another collection we hold: the Pettingell collection of theatre playscripts. The playscripts in this collection, which total over 4400, show the extent and variation of theatre during the Victorian period. The Pettingell collection has two distinct owners: Frank Pettingell, the collection’s namesake, was an actor who performed in many plays and theatres during the mid-20^th century. He acquired his collection of theatre scripts from the son of Arthur Williams, who was a popular comedian during the Victorian-Edwardian era.

What makes the Pettingell collection unique is the annotations added into each text by Williams, who either saw, was involved in, or had heard about the plays.  The majority of additions take the form of typescript cast lists, but there are also manuscript annotations to be found. Some plays are entirely written in manuscript, providing evidence of how texts were edited as they were rehearsed, and we also have ‘parts’ of plays too – copies given to actors for their individual role.

The Pettingell collection is fascinating because it provides a comprehensive snapshot of what types of theatre were popular with Victorian audiences beyond the Shakespearean type theatre we often think of. There are many versions of Dickens’ novels transformed into dramatic versions relatively quickly, showing how popular he was during the time. Plays by the melodrama writer Dion Boucicault (whose archives we also hold) are well represented – evidence of how audiences would flock to see spectacles on stage. In a time well before the moving picture, the power of the visual still held strong.

Of course, the Pettingell playscripts have an entire section of pantomimes; unlike the majority of plays in the archive, they are bound together to create multiple volumes of works. This decision alone shows how popular pantomime was for Victorians; no other genre of plays in Pettingell gets its own distinct category. The collection includes scripts of famous pantomimes written by E.L. Blanchard performed in London (notably at the Theatre Royal, Drury Lane). Our overview of pantomimes in the Pettingell collection demonstrates how popular some pantomime stories were during the late 19^th century. Unsurprisingly, the well-performed titles are the same fairy tales we use in pantomime today: Aladdin, Dick Whittington, Sleeping Beauty, Jack and the Beanstalk and Robinson Crusoe.

Reading Rayner Collection: biography, memoir and theatre today

How do we account for the success of pantomime during the Victorian-Edwardian era? The answer may well be found in our extensive array of theatre books and programmes donated to us by Jack Reading and Colin Rayner. The collection primarily covers 20^th century performances, but the origins of modern theatre are well accounted for, including biographies of actors and histories of theatres.

The Theatre Royal at Drury Lane is the subject of several publications as writers sought to explore the success of pantomime due to its 1880s-1890s manager, Augustus Harris. Harris exploited the Victorian love of spectacle by creating lavish processions on stage, employing several hundred people for any single show. The risk paid off, and most of Harris’ productions ran for over 100 performances each season.

The Reading-Rayner collection provides a different look at pantomime through secondary sources; it is interesting to note how pantomime is, once again, described separately from the rest of theatre history. It also offers us a look at the world through actors’ eyes as there are many memoirs from performers in the collection. Through Jack Reading’s extensive collection of theatre programmes, we can also chart what plays remained popular from Victorian times to the late-20^th century.

Pantomime as a tradition is certainly not (quite) as popular now as it was in the 1890s, but the University of Kent’s extensive collections evidence that shift. By exploring theatre through the eyes of the audience, the actors and the producers, archives can offer us a unique glimpse of the past that proves how much more there is to pantomime than dames, celebrities and songs. Not that we’d deny, of course, that that’s all part of the fun too – long may it continue!

Joanna Baines
Senior Library Assistant
Special Collections, Templeman Library
University of Kent

Explore on the Archives Hub:

Melville Theatre Collection, c.1800-1987

Victorian and Edwardian Playbills, c.1756-c.1950:

Dion Boucicault Collections, 1813-2002:

Browse on the Archives Hub:

All University of Kent Special Collections and Archives collections

More pantomime collections

More Hub features about Theatre archives

The D’Oyly Carte Archive

The Association of Performing Arts Collections

Variety and Music Hall, National Fairground Archive

Curtain up! The Theatre and Performance Collections at the V&A

All images copyright  University of Kent Special Collections and Archives and reproduced with the kind permission of the copyright holders.

Archives Hub feature for November 2017

The University of Huddersfield Archive Service at Heritage Quay is the home of two significant contemporary classical music collections, the British Music Collection (BMC) and the Huddersfield Contemporary Music Festival archive (HCMF), both of which are celebrating exciting anniversary years in 2017.  Sound and Music, owner of the British Music Collection, are celebrating the 50^th anniversary of the collection in its original form, as the British Music Information Centre.  2017 also marks the 40^th edition of the Huddersfield Contemporary Music Festival, which is the UK’s largest international festival of new and experimental music.

The British Music Collection

The British Music Collection (BMC) is the music library and other records of the British Music Information Centre (BMIC).  The British Music Information Centre (BMIC) opened in London on 7 November 1967 as a place for musicians, composers and the general public to see and hear new classical music. When it closed in 2004 it had collected thousands of scores and recordings and hosted hundreds of performances.  It had been founded by the Composers’ Guild of Great Britain at a time when similar centres were opening around the world. Composers and publishers donated works to make a huge library of British classical music. This library was used by students, composers and performers for inspiration or to select new works for performance. The BMIC also hosted and organised concerts to help promote British artists.

The BMIC’s role was to collect and provide access to cutting edge work by British or British-based composers. Therefore, the collection tells the story of the development of composition and performance in this country during the 20^th and 21^st centuries. It features both published and unpublished materials, including things that are not stored anywhere else. The collection features famous composers such as Benjamin Britten and Ralph Vaughan-Williams but also more obscure people ready for rediscovery.

Following the closure of the BMIC in 2004 the collection was split into three parts. The whole collection was deposited at the university by Sound and Music, the national organisation for new music. Archivists at Heritage Quay reunited the three parts and fully catalogued the collection which is now available for researchers again. The collection continues to add exciting contemporary works through Sound and Music’s New Voices project.  This large collection features over 80,000 scores and recordings of 20th and 21^st century classical music.

Huddersfield Contemporary Music Festival Archive

hcmf// is an annual event celebrating new and experimental music. Since the first festival in 1978 it has hosted some of the most important names in contemporary music, including Karlheinz Stockhausen and John Cage. hcmf// also supports young and up-and-coming composers and performers and inspires local people through its Learning and Participation programme.

The archive covers the history of the festival from its beginnings as a long weekend of performances in October 1978 to its current 10 days in November. During the 2009 Festival, the hcmf// archive was transferred to the University to enable public access and research into this collection.

The archive features a wide range of materials including programmes, posters and administrative records that tell the story of the Festival’s development. It also contains financial and marketing records, performer contracts, musical scores and audio-visual recordings of concerts.  These records chart the exciting history of hcmf// from its modest beginnings to an internationally renowned event on the contemporary music stage.

These collections not only cover the histories of these important institutions. They also reflect the much bigger story of the local, national and international development of new and experimental music throughout the world in the 20th and 21st centuries.   Music forms one of the University archives significant research themes alongside Education, Politics, Art and Design, Theatre and Sport.

Lindsay Ince
Assistant Archivist & Records Manager

Related content on the Archives Hub

Please note: Collection descriptions for the British Music Collection and Huddersfield Contemporary Music Festival Archive are due to be added to the Archives Hub shortly – we’ll add the links to this feature as soon as they become available.

Browse Heritage Quay, University of Huddersfield collections on the Archives Hub.

Previous feature by Heritage Quay, University of Huddersfield : ‘Scrum, Ruck and Tackle: Rugby Football League Archive‘.

Related Links

Sound and Music – The national charity for new music in the UK, and formerly the home of the British Music Information Centre (BMIC), a collection now deposited with the University of Huddersfield.

Huddersfield Contemporary Music Festival – The website of the festival, which takes place in Huddersfield every November.  Includes a guide to the current festival’s programme, and associated public events.

Google Cultural Institute Exhibitions – Exhibitions curated by current composers looking back at the organisational archives.

Related Publications

Gottchalk, Jennie (2016) Experimental music since 1970.  Bloomsbury.  ISBN 978-1-62892-247-9

Metzer, David (2009) Musical Modernism at the turn of the Twenty-First Century.  Cambridge University Press, Cambridge.  ISBN 978-1-107-40280-5

Rupprecht, Philip (2015) British Musical Modernism, The Manchester Group and their Contemporaries.  Cambridge University Press, Cambridge.  ISBN 978-1-316-64952-

Steinitz, Richard (2011) Explosions in November. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-099-4

All images copyright Heritage Quay, University of Huddersfield and reproduced with the kind permission of the copyright holder.