Boxes for the Housing and Protection of Books: Observations on their History and Development

By Gianlorenzo Pignatti

Introduction Boxes and cases for the protection of books are historical artifacts [1-2] that only in the 20th century have become reliable instruments for the long term preservation of manuscripts and printed books. The design and construction of protective boxes are today codified procedures. This is the result of theoretical beliefs and the experience of scientists, artists, bookbinders and book conservators who gave important contributions to this process. The present work focuses on the British and Irish cultural and professional environments, which provided unique contributions to this aspect of book conservation practice. This work is not a complete investigation of historical box styles but aims to provide the reader with some practical and useful observations on the history and development of boxes for housing and preserving books. When Daniel Charles Solander designed a case for storing specimens at the British Museum, he made a crucial contribution to the development of boxes for storing movable material, including books. At the end of the 19th century, the anti-restoration position of the printer William Blades and members of the Arts and Crafts movement supported the growing interest in the practice of conserving the original. This theory led to an increased attention to box making as a valid alternative to the restoration of books. These considerations became part of the conservation works of Roger Powell, renowned conservator and part of the team who designed the boxes for the Book of Kells. Several Irish manuscripts conserved by Powell during his career are today housed in wooden boxes designed by him and constructed with the collaboration of Edward Barnsleys workshop. This work describes the wooden boxes designed by Powell and their main features are discussed. The final section of this work focuses on the Phased-Box, a renowned solution for the storage of library collections, and provides observations on the ethos of Phased-Box making and recent transformations of its use and function. Early examples: Daniel Charles Solander and his legacy During the years 1768-1771 the Swedish naturalist Daniel Charles Solander (1733-1782) accompanied Captain James Cook during a journey in the Pacific. On his return Solander was appointed head of the Department of Natural Sciences in the British Museum where he designed a solid wooden case for the storage of the specimens collected during the voyage. The use of his box (named after him and today commercially known as Solander box) was then extended to other types of artifacts. The scarce bibliographical references and the

observation of early examples can suggest that the style of Solander in use in libraries did not change much until recent years. Niccolo Caldararo quotes three interesting historical references on the box [3]. In 1844, a certain J. Maberby described it as a "[] a wooden box, backed with leather, the sides covered with marble or other paper, having leather corners, so that it has much the appearance of a book; one of the sides is made to open as a lid, carrying with it the back which is attached to []" [3]. Sixty years after the death of Solander, Maberby advised collectors of prints and drawings to use the Solander instead of portfolios [3]. We can assume that after this moment the use of these boxes within private collections could have only increased (Figures 1-2). Caldararo also recalls an extract from the work Fragments of bookbinding (1937) by Thomas Harrison: "The early boxes in the British Museum attributed to Solander were constructed of a wooden base with pine woods sides and top. The top and base were cabinet made to prevent warping" [3]. In addition to this, Caldararo includes the reproduction of the Solander in use at the British Museum since 1937 included in Harold Plenderleiths work (Figure 3). Harris does not record any aesthetic feature (e.g. tooled spine, false bands) of these boxes while the other sources emphasize this aspect. The reason for this relates to the change of its use and display purposes. The introduction of a plain wooden case on a shelf of a library was a disturbing presence to the eye of the collector and bibliophile. Consequently, the decision to disguise the shape of the box so that it resembled a book was the best solution to overcome this aesthetic empasse. With the progress of book conservation sciences, the aesthetic embellishments were gradually abandoned. The attention was focused on the research and use of conservation grade materials and the introduction of technical solutions that allowed ideal storage conditions and safe access to the material. Today, the Solander is a renowned and reliable instrument for the storage and transportation of museum collections and its use amongst institutions is a common practice (Figure 4) [ 4-7]. The technical and detailed description proposed by Roberts and Etherington [8] clearly refers to the classic style in use in historical libraries: "The Solander box, which is generally of a drop-back construction, is made of wood, has dovetailed joints and a back shaped from a single piece of wood. The top and bottom are held in place by screws and glue. The box is secured by two spring catches fixed in the "fore edge" frames near the head and tail. When properly constructed the Solander box is very nearly dustproof and almost waterproof. The box [] is generally covered in cloth, or, in more elaborate instances, full morocco. It may even have raised bands on the back (corresponding to the spine of a book) and may be tooled".
From left to right: Figure 1. Solander box constructed for Chester Beatty (1875-1968), Dublin, Chester Beatty Library, MS Is 1466. The Trustees of the Chester Beatty Library, Dublin. Figure 2. Solander box constructed for a printed copy of the Leabhuir na Seintiomna (Dublin, Benjamin Iveagh Library, VII B 6). The Benjamin Iveagh Library, Farmleigh. By kind permission of the Governors and Guardians of Archbishop Marshs Library, Dublin. Figure 3. Solander box in Plenderleith, 1937. Figure 4. Contemporary Solander box for sale. By kind permission of Talas.

A vivid description of the box and its advantage for preserving books was also offered by William Blades (1824-1890) in 1881 in his notorious work The enemies of the books [9]: "I remembering purchasing[] a perfect copy of Moxons Mechanic Exercises []. The volumes were uncut, and had the original marble covers. They looked so attractive in their old fashioned dress, that I at once determined to preserve it. My binder soon made for them

a neat wooden box in the shape of a book, with morocco back properly lettered, where I trust the originals will be preserved from dust and injury for many a long year. Old covers, whether boards or paper, should always be retained if in any state approaching decency. A case [] gives even greater protection than binding. It has also this great advantage: it does not deprive your descendants of the opportunity of seeing for themselves exactly in what dress the book buyers of four centuries ago received their volume". Blades not only described a Solander but also made interesting observations on the key role of cases and boxes for the preservation of old bindings. His empathy for retaining the integrity of the book is highlighted in the following lines. The subject of this quotation is William Caxtons (c.1422-1491) book featured with the original binding and its antagonist is a well-known London binder: "Of course [] it was kept in its original covers, with all the interesting associations of its early state untouched? No such thing! Instead of making a suitable case, in which it could be preserved just as it was, it was placed in the hands of a well-known London binder, with the order, Whole bind in velvet. [] the volume now glows luxuriously in its gilt edges and its inappropriate covering and [] with half an inch of its uncut margin taken off all round" [9]. Guy Peterbridge described Blades as "[] a preservation pioneer in stressing the virtues of simple boxing to protect old bindings, whose gratuitous rebinding for the sake of a fresh appearance he discouraged" [10]. Blades had a genuine understanding of old books. He reflected an ethos and a respect for the evidence of old books that made him a precursor of the 20th century theory of the preservation of books. Blades however was not the only one to understand the importance of preserving the original. At the end of the 19th century, the members of the international Arts and Crafts Movement, born under the inspiration of John Ruskin (1819-1900), rediscovered the cultural legacy and the tradition of medieval craftsmanship. The Movement supported the antirestoration positions of Ruskin and encouraged the preservation and investigation of ancient artifacts. In this sense, it is meaningful that the expression would you know the new, you must search the old was a maxim at the London County Council Central School of Arts and Crafts, founded by Richard Lethaby in 1896 [10]. This theoretical principle influenced the activity of the Arts and Crafts artists, including print making and book binding techniques. William Morris (1834-1896) and Thomas James Cobden-Sanderson (1840-1922) were relevant figures of the Movement. Morris critical positions against the restoration of old buildings, in line with Ruskins theory, must have reflected in his approach to codices and early printed books. In fact, Morris considered the book as if it was an architectural structure formed by many parts. The preservation and investigation of the ink, the font, the decorations, the white margins of the text block and the binding are essential elements in understanding the historical value of any book [10]. These considerations are relevant for the present work because soon Douglas Bennett Cockerell (1870-1945), pupil of Sanderson, joined the Movement. Cockerell was a master bookbinder and executor of the conservation project of the Codex Sinaiticus in 1935 [11]. Under Cockerells influence Roger Powell established himself as one of the most influential bookbinders and conservators of the 20th century. Roger Powell and the Irish manuscripts

Roger Powell (1896-1990) was taught by Cockerell at the London County Council Central School of Arts and Crafts. From 1935 until 1947, Powell joined Cockerells studio at Letchworth and in 1947 he opened his own studio in Froxfield in Hampshire (UK) [12]. Edward Barnsley (1900-1987), fine cabinet maker, also had his workshop in Froxfield. Powells studio was a stroll away from Barnsleys workshop and this helped the creation of a long lasting and prolific collaboration between them: "[] with the Barnsley and Powell workshops only about mile apart, it was a simple matter to arrange the ordering from Barnsley of quarter-cut oak boards, special cases for books and also book cabinets from time to time" [13]. In 1954, Powell completed the conservation work of the Book of Kells (Dublin, Trinity College, MS 58). He was first invited to Dublin in 1952 and completed several projects on medieval manuscripts belonging to Trinity College and to the Royal Irish Academy (RIA). The collaboration with Barnsleys workshop was vital for the execution of many of his Irish works including his last project in 1981 - the conservation of the Cathach of St. Columba, the Psalter traditionally ascribed to the saint and written between A.D. 560 and 600 (Dublin, Royal Irish Academy, MS 12 R 33). The four volumes forming the Book of Kells are housed in four wooden boxes stored horizontally in a wooden cabinet. The box for the MS 58/2 was examined for this work (Figures 5-6). Dove-tail joints secure the side walls of the base while 16 brass screws ensure a firm adhesion of the walls to the base. The lid is completely removable from the base and its opening/closing mechanism is composed of a brass leaf spring. The rotation of the leaf spring into metal catches keeps the lid closed and the volume under slight pressure (Figure 7). This reduces the risk of deformation of the vellum sections forming the text block [14]. Powells intention was that the leaf spring should provide the book with a smoother pressure than the classic metal fastenings typical of the monastic bindings [15]. A leather strap assists the removal of the box from the cabinet. To minimize the tension on the binding structure (e.g. sewing structure, headbands) and on the text block during handling, the foredge of the book corresponds to the side with the leather strap: when the box is handled, the gravity-force is focused on the spine of the binding reducing the risk of physical damage to the book.
Figures 5 to 8 (left to right). Wooden box for one volume of the Book of Kells: frontal view; internal base of the box; top view of the box with the lid closed, the leaf spring is hooked in the catches; and external side of the base. Trinity College Library, Dublin.

The Book of Kells is part of the permanent exhibition at the Trinity College Library and normally two volumes at a time are exhibited. The pair are changed approximately every three months so the boxes are moved several times a year [16]. Under visual examination the box looks very solid and sturdy and the only damage associated with its use are scratches on the external side of the base, possibly caused by the sliding of the box on a hard surface such as metal (Figure 8). Powell and Barnsley also designed the cabinet for the boxes. All had to be stored in a safe (Figure 9): "Between the carcase and the walls of the safe there is an air-space at the sides of about 1/8 inches [c. 3 mm]. There is about 1 inch [c. 25 mm]above and below and 1/4 inches [c. 6 mm] behind" [14]. The boxes and cabinet were constructed in 1954 by Rogers son, David, and Herbert Upton at the Barnsley workshop. It took 106 hours for a total cost of 45 [17]. The box structure reproduced in Figures 10-12 was designed for both the Ricemarch psalter (TCD, MS 50) and Garland of Howth (TCD, MS 56). It is a box for vertical storage and the spine of the volume is fully exposed. The main feature of this box format is the wooden lever at the back. The lever is hinged to the box and when rotated it pushes the boards of the binding allowing the sliding of the volume out of the case. There is no contact between the text block and the lever. Direct contact is only applied on the new wooden binding boards provided by Powell during conservation work.
From left to right: Figure 9. Wooden cabinet for the storage of the four boxes housing the Book of Kells. Reproduced by kind permission of the Edward Barnsley Educational Trust, Froxfield. Figure 10. Wooden box of the Ricemarch psalter. Front view. Trinity College Library, Dublin.

Figure 11. Back view with the releasing system closed. Trinity College Library, Dublin. Figure 12. Back view with the releasing system open. Trinity College Library, Dublin.

This releasing system seems too invasive and today it is unlikely that it would be considered a viable option in a conservation project. If we contextualize historically this project we can understand Powells consideration: the contact between the lever and the new binding was not relevant comparing to the preservation of the only surviving component of the manuscript, the text block. Between 1968 and 1981, Powell was committed to the conservation projects of the Lebor na hUidre (RIA, MS 23 E 25), Book of Lecan (RIA, MS 23 P 2), Leabhar Breac (RIA, MS 23 P 16), Book of Fermoy (RIA, MS 23 E 29) and Cathach of St. Columba. All manuscripts were provided with wooden boxes for horizontal storage and except the Book of Fermoy the others were all constructed by David Powell (George Taylor of Barnsleys workshop collaborated at the construction of the box for the Cathach). An historical reference regarding the Cathach and its historical shrine provides us with a practical example of the evolution in the box design attitudes during the centuries. The manuscript was considered an important relic of the saint and it was used as a talisman on the battlefield. The shrine for the Cathach was constructed between the years 1062 and 1098 in order to protect the relic when it was held by the army battalion [18]. The following extract from the Ordnance Survey Letters of County Mayo (1834-1841) proves the exceptional relationship between the manuscript and its protective case. The religious and symbolic values that featured the manuscript were transferred to the shrine, here anthropomorphized, that became an active component of the relic: "[] a box [the shrine] with some gems inserted into its cover, which resembled glass eyes, and that whenever any one perjured himself these eyes were wont to turn round to roll like human eyes, and make signs of melancholy disapprobation of the conduct of the profane perjurer []" [18]. The boxes designed and constructed by the Powells for the RIA material are of the same structure (Figures 13-14) and have the same mechanical solutions featured in the original drawing of the box for the Book of Fermoy, now part of the Barnsley archive [19]. The only exception is the case for the Book of Lecan that differs in appearance (Figures 15-16).
From left to right: Figure 13.Wooden box of the Cathach of St. Columba. By permission of the Royal Irish Academy, Dublin. RIA. Figure 14. Open box. The conservation report (left) is housed within the manuscript. Lid on the right. By permission of the Royal Irish Academy, Dublin. RIA. Figures 15 and 16. Wooden box of the Book of Lecan. Lateral view of the closed box and lateral view with the lid open. By permission of the Royal Irish Academy, Dublin. RIA.

The base and the lid are individual entities. When it is closed, the lid is hooked into a groove on the back of the base (Figure 17) and the two components are kept firmly in place with one or two metal catches. All boxes are lined inside with soft material (e.g. felt, pig skin leather, foam covered with linen) in order to provide the volume with better housing (Figure 18). In 1985-87, the same structure was proposed by Eric Pearce for the construction of the box for the Book of Ui Maine (RIA, MS D ii 1) previously conserved by Anthony Cains. Powells legacy and influence can be recognized in another project. The fine wooden boxes designed for the manuscripts belonging to the Parker Library at Corpus Christi College in Cambridge (UK) recall the RIA boxes. It is no coincidence that Nicholas Pickwoad, who trained and collaborated with Powell, contributed substantially to the Parkers boxing project that took place in the mid-1980s [20]. Roger Powell was aware of the importance of a wooden case as an active component in the correct storage and preservation of a book. In 1975, he wrote in the conservation note of the Book of Fermoy [21]: "The case to keep the book under slight pressure has been made in the workshop of Edward Barnsley CBE in African Sapele. So far as possible the book should always be kept in the case with the catch closed. If left unrestrained vellum becomes cockled; if this happened it might become impossible to close the case".

Cains arguably states that Powell "was a distinguished codicologist long before he knew the word" [21]. His sensitivity as a conservator and codicologist had intensified after the experience of the Florence flood in 1966. In the conservation notes for the RIA manuscripts Powell showed an increased interest in the scientific approach to conservation work and the use of long-term stable materials [21] . In 1969, his refusal to carry out any treatment on the 7 th century bound manuscript Stonyhurst Gospel (British Library, Loan 74) proved his definite awareness of the importance of preserving original bindings [22]: "[] it is[the Gospel] no longer in a state to be treated with anything but informed veneration. Repair is not the answer, unique evidence must not be disturbed". The Phased Conservation Box After the Florence flood of 1966, restorers faced an overwhelming and unprecedented number of volumes in need of treatment. The volumes were classified according to different standards in order to optimize the time and prioritize treatments. The organization of the work according to a phased structure was later introduced at the Library of Congress of Washington D.C. In 1967, Peter Waters was hired as Conservation Officer at the Library of Congress where he dealt with the preservation programme of the collection belonging to the Library [23] and his first-hand experience during the Florence flood certainly influenced his new commitment [24] . The Phased Conservation Project started in the mid-1970s and had the purpose of providing a quick and effective solution for the preservation of fragile material from the vast collection of the Library. In Waters intention, the Project was the answer to the daily care and assistance of the collection: "an extension of collection maintenance" [24]. The core of the project was represented by the Phased Conservation Box, a custom-made protective box constructed from folded boards. The full conservation treatment of a single volume is generally a long and expensive process, alternatively the use of a Phased Box is a fast and cost effective way to temporarily store books in need of treatment. The use of a Phased Box for damaged material also slows down some deterioration processes, part of what Feller called the autocatalytic phase in the life of the artefact [2526]. This phase is the moment of greatest decay for any object and it develops as a cascade effect that could lead to the definite dissolution of the item. This phase only stops when all the chemical and physical decaying processes have reached their natural conclusion and the object eventually enters its autoretardant phase [25-26]. The European Law collection at the Library of Congress was clearly in its autocatalytic phase and its phase boxing was the preferred solution to temporarily stop the decay: "Most [volumes] were in such a dilapidated state that every morning one could move along the rows of volumes and sweep up fragments" [23]. The use of the Phased Box postpones every treatment on the volume. When this is considered in relation to the studies in Codicology and Archaeology of the Book, it becomes of high relevance because this box preserves the integrity of original book structures[27] . In the introduction of the Boxes for the protection of rare books [28], Waters stated that fragile material of limited usage and consultation was ideal for being phase boxed. In fact,

when it is open the Phased Box is more cumbersome than other types of boxes and it could be unpractical for the reader. In addition to this there were concerns about the wear and tear of the box due to continuous opening and closing, which lead to physical damage of the folding flaps. Phase boxing is a common practice in libraries where are developed according to their specific needs and specifications. According to Baker and Dube, approximately 40% of the seventy three institutions participating in their survey use Phased Boxes for their collections [24]. Since the Phased Box was first introduced in libraries its role and function have changed. It was born as a temporary protective case, linked to a specific phase in the life of the artifact. Today it is increasingly considered as a permanent box and it is often constructed to store books after full conservation treatment (Figure 19). It is part of this evolution the protective case designed at the Derry and Raphoe Diocesan Library Project [29]: "The visible spine allows librarians, archivists, scholars who are looking for books of a particular period to select them from the shelves without necessarily opening the PhaseBoxes. [] the optional information sheets give further more precise details about both the binding and the text and record the conservation and consultation history of the book. They will limit the damage caused by unnecessary manipulation".
From left to right: Figure 17. Wooden box of the Book of Ui Maine. Detail of the wooden grove on the base. By permission of the Royal Irish Academy, Dublin. RIA. Figure 18. Wooden box of the Lebor na hUidre. Lid on the left. By permission of the Royal Irish Academy, Dublin. RIA. Figure 19. Books conserved and housed in their Phased Boxes. Delmas Conservation Bindery. By kind permission of the Governors and Guardians of Archbishop Marshs Library, Dublin.

The Visible-Spine Phase Box is technically a more complex version than the classic style. It protects the book and provides users with bibliographical information at the same time. These features suggest that this box was created under different considerations and for distinct purposes: there is the perception that it was designed as a long term preservation box. It could be suggested that there are today cases when the term phased is no longer appropriate for this type of protective box. Conclusions Daniel Solander designed and created a box of extraordinary success. The 19 th century antirestoration theory which originated in Europe, promoted the adoption of boxes for preserving books within collections and the circulation of the Solander was probably influenced by this ideal. The Solander and its modern variations are found today in many historical libraries and this proves its solid reputation as a reliable instrument for the storage of bibliographical material. Thanks to his collaboration with experienced and skilled professionals (Douglas Cockerell, Edward Barnsley, David Powell), Roger Powell made an essential contribution to the practice of designing and constructing wooden boxes for manuscripts. The development of this very specific field of book conservation and preservation evolved from the collaboration of professionals who shared an amount of practical knowledge and skills. The Florence flood was a central moment for the development of the research into boxmaking. The Phased-Box partially derives from this tragic event. This work could draw a parallel between the introduction of Solanders creation within libraries and the adoption of the Phased-Box: both circumstances were significant for the development of protective cases for books. All the subjects tackled in the present work deserve further investigation and especially the geographical limits must be extended to include other European and American projects. The Author hopes that the observations presented contribute to a better understanding of the development of this significant aspect of book conservation practice.

Acknowledgments My gratitude goes to Dr. Jason McElligott, Keeper of Archbishop Marshs Library, for his observations and generous support. My warm thanks to Conservators Noureen Qureshi (Delmas Conservation Bindery, Dublin) and John Gillis (Trinity College, Dublin) for their

editing and proofreading and to all colleagues, librarians and archivists for their cooperation and help.