Upcoming Exhibition: Treasures of Rochester Cathedral Library

I am very excited to announce a one-off opportunity for you to get up close to some of the most beautiful, unique and culturally significant books from Rochester Cathedral Library.

After some months of cataloguing these books, as part of a collaborative project between Rochester Cathedral and the University of Kent (funded by the Heritage Lottery Fund), I am thrilled to be able to share these books with you for the very first time!

Register to join us on Monday 7 March 2016 at the Drill Hall Library, Chatham Maritime

Book of Hours

15th century illuminated ‘Book of Hours.’

This guided exhibition will give you the opportunity to explore the treasures of the library and find out more from experts who will be on hand to answer any questions on the day. The books and manuscripts being exhibited date from c. 1150 to the 18th centuries, with highlights from the collection including:

  • Tudor Bibles (such as Henry VIII’s ‘Great Bible’ (1539), the Geneva Bible (1584) and the Bishop’s Bible (1568))
  • an excellent example of a John Reynes Tudor binding with royal armorial decoration
  • a fifteenth century illuminated Book of Hours
  • manuscript items including an 11th century St Augustine’s ‘De Consensu Evangelistarum’ and the 13th century Lombard’s ‘Sentences’
  • early modern maps of Kent

So come along and join us for this one-time opportunity to discover more about the collections and Rochester Cathedral, and to speak to members of the project teams from the Cathedral and the University of Kent.

Please register for this free event via Eventbrite at www.eventbrite.co.uk/e/treasures-of-rochester-cathedral-tickets-21555859155.

Geneva Bible

Geneva Bible, 1584

 

Rochester Cathedral Rare Books: All that glitters – gold tooling, gilding and engraved illustrations

Link

As I waited  to begin working on the Rochester Cathedral collection, I found myself excited with the anticipation of getting to work with so many beautiful handcrafted bindings and ornate illustrations.

Including information about the bindings of a book in the catalogue records I create is relatively new practice for me.  I was lucky enough to visit Canterbury Cathedral Library before the start of this project, where I received some expert guidance in recognising different elements of book bindings.  I was struck by the beauty of even the most ‘basic’ historical book bindings, and couldn’t wait to start seeing what the Rochester Cathedral collection had in store for me.

‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Operai’ is one such book that offers both beautiful bindings as well as artwork.

Full gilt edges from the book 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Full gilt edges from the book ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

I was initially struck by the full gilt edges that seem to glow in the picture above.  This is the finest example of gilt edges that I have as yet come across in this collection. However, I have learned to not be fooled by this type of decoration, as all that glitters is not gold.  It was common for cheaper editions of books to be decorated with gold coloured paint, but this can quickly dull in appearance.

Gilt edges were not always applied to all sides of a book, and there are many examples of others within the collection that are gilt along only the top edge. This is because gilding book edges is as equally practical as it is beautiful, and when the gold leaf is applied with glue, it can help to protect the pages from the damage that can be caused by dust and moisture.  By gilding the top edges of the pages, the books are protected from dust when shelved upright.

Gilding was not only applied to the edges of this particular book, as it has also been applied to this crest, which adorns the front cover.  I recently discovered a very interesting blog which shows how gold tooling and gilding is applied to a bookbinding. Take a look here to find out more: https://lilbookbinder.wordpress.com/bookbinding-portfolio-2/gold-tooling-and-gilding/

Gold tooled coat of arms on the front cover of 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Gold tooled coat of arms on the front cover of ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

The engraved title page and frontispiece (the image facing a books title page) are both as interesting to me as the binding itself, and I was initially struck by the extent of decoration across these two pages, which have been created by printers Anton (Antonius) Hierat (active 1597-1627) and Balthasar Lipp (active -1623).

Title page and frontispiece from 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Title page and frontispiece from ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

The images across the title pages appear to have been created using an intaglio printing technique.  Armed with only a very basic knowledge about this method of printing, I decided to go on a journey to find out more, and have made some fascinating discoveries along the way:

  • ‘Intaglio’ comes from the Italian, meaning ‘to carve.’
  • Intaglio printing was the main method of book illustration between the late 16th century and early 19th century.
  • The earliest form of intaglio printing could date back as far as the 1430’s.
  • This style of printing uses a variety of techniques, such as engraving, etching, stipple and aquatint. All are based on the same principle of making an impression into a metal plate.
  • Illustrating books with engravings didn’t start becoming popular until the 16th century.  The results can often be seen, as with this book, in the form of engraved title pages and frontispieces.
  • The art of illustrating books with intaglio prints began to lose popularity in the 1800’s, mainly because of the expense involved in this process.

Although there are great many useful resources that offer advice on this topic, it can still be tricky identifying precise traits to help with verifying the printmaking technique used. However, there are a couple of things that I have picked up over the course of this project that are proving helpful.

I always now check to see if there is a plate mark. Plate marks tell us that the image was created by either engravings, etchings, and other styles of printing associated with intaglio.  The arrows on the image below point to the plate mark that surrounds the engraving from the main title page.

The faint line around the edge of the impression helps us to identify the intaglio technique.

The faint line around the edge of the impression helps us to identify the intaglio technique.

I also try to look at the style of cross-hatching used in the creation of the image.  I have learned that smooth flowing intersecting lines, like those shown in the hand of Saint Bonaventura, have been made using singles cuts.  This helps me to identify the intaglio technique of engraving.

Close up of a small section from the frontispiece image. The larger image depicts Saint Bonaventura.

Detail from an image depicting Saint Bonaventura.

It isn’t always easy to identify the style of printing used to create the images, but it has been interesting to learn more about the methods used.  I feel I have a new-found appreciation of the craftspeople of the day who would have applied a great deal of time, skill and care to their creations.

Today we live in fast paced society, with printing presses that have been able to respond to demand by utilizing technology, producing thousands of bestselling paperbacks to a disposable society.  By stark contrast, I see rare books everyday such as this, that I regard as unique pieces of art, owing to the level of skill, time, and labour put into creating these masterpieces.

My hope is that this unique, historic and culturally fascinating collection is also appreciated for its art and for the skill used in the creation of the books, and that we can all enjoy them to their fullest, from the words, to the art works and the bindings that hold all of these together.

Rochester Cathedral Rare Books: Librarians of yesteryear

When I unwrapped my next book to catalogue for the Rochester Cathedral collection, I came across a rather surprising feature that made me feel a little nostalgic about the many years I spent working in public libraries.

I opened ‘Essays on subjects connected with the reformation in England,’by the late Samuel Roffey Maitland (printed in 1899), and I was greeted with a date label from Leeds Free Public Libraries.  These were once a regular sight for me, having stamped thousands of date labels over the years. So I was genuinely surprised to see a book from this unique and rare collection with an obvious history of being lent from a public library.

A date label placed inside the book by Leeds Free Public Libraries.

A date label placed inside the book by Leeds Free Public Libraries.

The ‘return-by’ dates stamped on the label, which range from October 31st 1898 to August 21st 1925, allowed my mind to become immersed in the journey this book must have taken over the last 116 years, the homes it would have been temporarily taken to by the library borrowers of the day, and the librarians of Leeds Free Public Libraries who would have catalogued and shelved this somewhat ordinary book of its day, ready for the next customer.  As this book sits comfortably upon a support cushion at my desk, next to my multi-screened computer and a wealth of other technologies, I think of the librarians before me who over a century ago, catalogued this book by writing all the information on a small card, so that the book could be easily retrieved for future lending.

Front  cover of 'Essays on subjects connected with the reformation in England.'

Front cover of ‘Essays on subjects connected with the reformation in England.’

Further evidence of this publications time spent as a lending library book are, the embossed stamps marked on several of the rear and front pages and a purple ink stamped accession mark emblazoned on the back of the title page (the ink so penetrating that it has bled through to the title page). For me, this all adds to the history of this book as an object. It’s that tangible sense of the journey, the history, the life of the book that so fascinates me.

Many may regard this book to be defaced because of its time spent in a public library, but to my mind, these markings make this book all the more unique and special. Unlike many of the books in this fascinating collection, these markings provide us with a very tangible sense of history and also allowed me some happy recollections of my previous life working in public libraries.

This works continues to be endlessly fascinating for me and I very much look forward to uncovering the next treasure from the collection.

Clockwise from the left: Title page with accession stamp markings on opposite page that have penetrated through ; Embossed Leeds Public Library stamp marked on several of the front and rear pages ; 'City of Leeds Free Public Libraries' date of acquisition stamp marked on the last page of the book.

Clockwise from the left: Title page with accession stamp markings on opposite page that have penetrated through ; Embossed Leeds Public Library stamp marked on several of the front and rear pages ; ‘City of Leeds Free Public Libraries’ date of acquisition stamp marked on the last page of the book.

Rochester Cathedral Rare Books

My name is Josie Caplehorne and I am currently working on a very exciting project in partnership with Rochester Cathedral to catalogue over 2000 of their rare books!

I have been a cataloguer since early 2013 when I began my role as a Metadata Assistant with the University of Kent.  After a short time I began to work with the Special Collections & Archives teams to catalogue undiscovered materials, all the while continuing to undertake my day-to-day duties as a member of a growing team.

Excited conversations started to take place in the office (around mid 2014), that the University of Kent would work in association with Rochester Cathedral.  This certainly caught my ear and I was very eager to be part  of this.  I had so far really enjoyed working with the university’s special collections, and was very excited about the opportunity to work with another rare, unique and culturally significant collection.  In early 2015 I applied for the role of Rochester Cathedral cataloguer and, as you’ve probably worked out, I got the job!

Another rare book cataloguer was also recruited along with me and the collection will take us approximately six months to catalogue, with the work being undertaken at the University of Kent’s Templeman Library.

Rochester Cathedral

The collection is a fascinating one, and with the oldest book believed to be dated from 1498, the books I am cataloguing are rich in the history of the Church, Diocese and it’s Bishops.

I am constantly fascinated by the journey the books themselves have taken through their long lifetimes, and with the presence of  bookplates, handwritten inscriptions and letters held within the pages for hundreds of years, I feel like history is literally in my hands.  I feel extremely fortunate to be involved in this work.

Once my colleague and I have finished the cataloguing, the collection will return to Rochester Cathedral Library.  The library itself is currently being renovated to resemble its original form, where the books will be housed on handcrafted replica medieval wooden shelving.  I am very much looking forward to visiting Rochester Cathedral in the future to see the books in a home that befits their history and beauty.

I look forward to telling you more about this collection as we uncover more of these fascinating books.