During my time in Special Collections, I worked on two main projects: tidying the new storeroom and searching for provenance within a particular collection. Both tasks required physically handling almost every book I encountered. The biggest revelation from this work was the sensory nature of special collections. I went into the tasks knowing I would be touching and looking at books, but I utilized almost every sense to collect information about each book and to make decisions about how to process each.
Selection of bindings with fresh cotton tape, UCD Special Collections
Most bibliophiles can identify the smell of books; each store or shop has its own distinct aroma. Within UCD Special Collections, each room has a slightly different scent. Factors including temperature of the room, the humidity level, the mix of ages, and even the dust played a role in the overall smell. As I inspected books, I could use my sense of smell to examine for damp pages or mould. These incongruous smells could mean further intervention that I would not be able to provide. Luckily, I did not find these active problems within the collections. And I got to work in a great smelling work environment.
I also utilized my hearing as I examined the books. Listening to how the covers opened or how pages turned was important. Did the cover bend or crack as it opened? Did the pages sweep open or crackle? Was there any tearing? Similarly, as I removed or replaced the books on the shelf, did it make any sounds as it moved? Did it scrape the shelf or books next to it? Any of these noises could mean certain protective measures should take place, such as shifting books on the shelf or carefully wrapping books to avoid further scraping. Most times it meant further investigation through other senses.
Examples of provenance on a title page (Catholic University stamp, signature, etc.) with an impressive printer’s device
Signs of conservation – rebound volumes amongst others held in UCD Special Collections
Visual input played a big part in each of my inspections. Keeping in mind the purpose of my projects, I visually inspected for specific notifications that a book belonged to certain collections, or people, on the cover or initial pages. While looking for these specific markers, I also examined the general condition of the books. I inspected title pages for full titles, publishing marks, university stamps, and writing in script. Occasionally, the text or script would bleed or fade making reading difficult. I also looked for cracked spines, separated covers, loose pages, holes in the paper, or suspicious stains. Any of these could mean protective measures or further intervention. I unfortunately set a few books aside for further review due to visible deterioration. Throughout the shelves, I was able to see the evolution of conservation efforts over the years. Some books received extensive treatments, such as pressed leaves, individual page repairs, and new bindings. Other books received only external treatments, such as new covers or a few individual page repairs. Occasionally, I came across books that needed to be stored horizontally due to their fragile nature and I made sure to return them as such. In the new storeroom, I also made sure books were placed appropriately and in a visually pleasing manner, such as no leaning books or loose pages, and making sure spine titles were clearly visible.
Before and after! (Special Collections Store shelving)
Tactile input was unexpectedly the most useful sense when learning about these books. Each book I held gave input about the nature of the materials and construction. Some were heavy from the covers or heft of paper. I could feel the types of different covers used for the books, including simple paper wrapping, thicker paper hardbacks, leather bound pages, and occasional wood covers. The distinct types of paper also felt different through the years by texture, weight, thickness, and ease of turning. Even pages with gold leaf or painted edges felt different. I also had to feel for potential problems, such as pages sticking together or loose binding. Tactile input was also helpful in prepping materials for further preservation. I used touch to find the weak parts of bindings, measure cotton tape, and wrap items with acid-free paper. As I was wrapping books with the cotton tape, I often used my hands to lay out the tape and feel the edges for warped spots to avoid further damaging the book. Being sure to hold the materials carefully and complete a full inspection all at once ensured the least amount of handling needed as well. In the new storeroom, I also needed to make sure each book had enough room to stand vertically and sit fully on the shelf, which was easiest to do by touch.
A close-up of a book which needed some TLC
Overall, it was fascinating and educational to use all my senses to complete my tasks and learn about the collections. Each of my senses provided input about the book and its needs, such as space or supports. Even my vestibular sense came in handy when balancing myself on stools or with books in hand. I will take this lesson into further roles to not dismiss other ways to learn about books, other resources, or even clients. And while I did not lick any of the books in my care, I imagine they would have an earthy taste of paper and dirt.
This guest blog post was written by Jessica Foley, MLIS Student Intern, UCD Special Collections.
Jessica Foley recently completed an internship with the UCD Special Collections Library. Previously, she worked as a school psychologist for ten years in the US. She has just completed her Master’s in Library and Information Studies at UCD and completed an internship with the National Museum of Ireland. Jessica plans to stay in Ireland and continue working in specialized libraries.
Well done. Michael Byrne Offaly History Centre
Nicely written piece. A pleasure to read.