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Volume 23, Number 2, Summer 2016
Books&People
IN THIS ISSUE A York and a Lancaster Rose:
A Treatment Story
Book Funds
PAGE 4 by Christina Amato, Conservator
Summer Reads In Books Will Speak Plain, Julia Miller calls the nineteenth century the “last great
PAGE 6 period of the handmade book†because it was a period in which innovation and
centuries-old tradition were combined. Even as machines took hold in the book manu-
Receptions facturing industry, books continued to be sewn by hand throughout the century, and
covers often show traces of the human hands that decorated them. The “publisher’s
PAGE 8 cloth binding,†a hybrid of old and new technologies, survives as a book structure to
tell this story. By examining the materials, cover construction, decoration, and sewing
of these books, we can gain insight into the evolution of the book structure into its
modern form. For a book conservator, knowing the context of a binding’s creation is
also crucial in making an informed treatment decision. Our 1882 copy of A York and
a Lancaster Rose by Annie Keary is a typical victim of decades of enthusiastic readers.
Before diving into treatment, it is useful to consider the book’s Victorian roots.
Change was the defining characteristic of nineteenth-century industry. In the early
years, book production was carried out fully by hand, much as it was in the preceding
century. By 1900, books were almost entirely machine-made. For a trade that was
conservative and slow to change, this swift transformation was breathtaking,
and it happened as a result
of a perfect storm of causal
factors. The most obvious
was the Industrial Revolution,
which, of course, profoundly
affected many trades. Higher
literacy rates created a demand
for more and more books.
Innovations in papermaking
and printing vastly increased
the production of texts, which
overwhelmed the hand-bind-
ing industry. (The effect this
had on the quality of paper is
a story for another time.)
Before treatment: Broken into pieces and out of commission.