The Grace Race Saving Scottish Ballet’S Video Archive Before It Disintegrates

 BECOMING GEORGE ELIOT EXECUTION BROADSIDES Marian Evans’s letters Tales from the gallows FREE 

The magazine of the National Library of Scotland www.nls.uk No.43 Spring 2020

The grace race Saving Scottish Ballet’s video archive before it disintegrates

CONTENTS WELCOME Evolving collections

Digital drive puts focus on future 4 NEWS In our previous issue, we looked back to the 1980s. This issue Find out about our latest has a definite forward focus thanks to one word that keeps initiatives and purchases coming up throughout this magazine – digital. Technology and the internet have opened up the Library 7 SCROLL REVERSAL over the past 30 years in ways we would never have thought Who Taught Her That? marks possible back in the 1980s. And the kind of projects we’re Women’s History Month undertaking are preserving the written, visual and aural record of our nation for future generations to research and 10 A GOOD HANGING use at a distance. Tabloid tales from the age In our cover story, we talk about how we’re helping of the executioner Scottish Ballet save hundreds of performances that were captured on video tape, a format that was turning to mush. 13 THE GRACE RACE The full digitised record will be available at our National Rescuing Scottish Ballet’s Library at Kelvin Hall facility in Glasgow, with clips to video archive watch online. Turn a few pages and you come to more preservation work taking place in Glasgow, this time by our Sound Team. The 16 ON DISPLAY team is turning fragile formats into digital files, giving the Gordon Yeoman reflects on soundscape of our nation new life. Then there’s our Data his time as Exhibition Curator Foundry, where our digital resources are being examined and reused by artists and researchers – arriving at new insights 18 BECOMING GEORGE and interesting perspectives, and finding a place where creativity The complex relationships and data meet. that ‘made’ George Eliot, We now have one foot firmly in the physical world and the above other in the expanding digital world. It couldn’t be a more exciting time to be the National Librarian! 22 RADICAL WAR Looking back on the 200th anniversary of the uprising

24 SOUNDS HERITAGE Dr John Scally, National Librarian Saving the spoken word e: [email protected]

28 ALLAN RAMSAY Paving the way for Burns CONTRIBUTORS

30 THE DATA FOUNDRY Exploiting our digital resources

FIND US ONLINE Stewart Hardy Kirsty McHugh Stewart McRobert Sarah Ames Dr Graham Hogg www.nls.uk Marketing Officer John Murray Writer Digital Scholarship Rare Books Curator @natlibscot Archive and Librarian Publishers’ www.facebook.com/ Collections Curator NationalLibraryOfScotland www.instagram.com/ natlibscot/ FOR THE NATIONAL LIBRARY EDITOR-IN-CHIEF: Barbara Burke. EDITOR: David Willis [email protected] www.youtube.com/user/ PUBLISHED BY Connect Publications www.connectmedia.cc ISSN 1751-5998 (print) ISSN 1751 6005 (online) NLofScotland NATIONAL LIBRARY OF SCOTLAND | George IV Bridge | Edinburgh EH1 1EW | TEL: 0131 623 3700 | EMAIL: [email protected] The National Library of Scotland is a registered Scottish charity, No. SC011086

SPRING 2020 | DISCOVER | 3 NEWS

Angela MacDonald

Major step forward for Gaelic digitisation project

e’re delighted to from the people who created it or their fheadhainn a chruthaich an stugh, no welcome Angela families. Older An Comunn publications bho teaghlaichean. MacDonald (Angela have already been digitised and are Mar bhuidheann, tha An Comunn MacEachen) as our available on our website. Gàidhealach a’ brosnachadh na Gàidhlig Gaelic Arts Access agus dualchas nan Gàidheal agus ’s iad WProject Officer – a post which is funded PRÒISEACT DIDSEATACH ÙR cuideachd a tha a’ cur a’ Mhòid Nàiseanta by Bòrd na Gàidhlig and supported by An GÀIDHLIG Rìoghail air adhart gach bliadhna. Tha Comunn Gàidhealach to open up access Tha sinn toilichte fàilte a chur air Angela an stugh ris am bithear a’ coimhead mar- to our Gaelic collections. NicDhòmhnaill (Angela NicEachainn), a thà anns an Leabharlann againn ach, Angela is working on tracing rights bhios air cùmhnant goirid, mar Oifigear le bhith a’ faighinn cead air còirichean owners, such as authors and composers, Inntrigidh Ealainean Gàidhlig. Fhuair an bhon fheadhainn aig a bheil iad, faodar for Gaelic literature as well as music obair seo maoineachadh fialaidh bho an uairsin an dìleab bheartach seo a published by An Comunn Gàidhealach Bhòrd na Gàidhlig agus taic cuideachd, dhidseatachadh agus sin a chur air an – the organisation that promotes Gaelic bhon Chomunn Ghàidhealach. Bi Angela làraich-lìn againn. Gu dearbha, bhiodh language and culture and organises the ag obair air lorg fhaighinn air feadhainn sin gu mathas gach neach aig am annual Royal National Mòd. - mar ùghdaran is sgrìobhaichean- biodh ùidh agus, bhiodh e cuideachd This material is already held in our ciùil – aig a bheil còirichean leth- a’ ciallachadh nach fheumte tighinn collections, but obtaining permission bhreacachaidh an-dràsta, air ceòl is a-staigh dhan Leabharlann, airson from rights owners means we can stugh litreachais, a tha An Comunn sealltainn ris na bhiodh ann. digitise this body of rich Gaelic material Gàidhealach air fhoillseachadh, thairis air Tha stugh bhon Chomunn, a chaidh and add it to our website for all to use. na bliadhnachan. fhoillseachadh bho chionn ùine, air a It also gives us an opportunity to Tha e cuideachd a’ tabhainn cothrom bhith air a dhidseatachadh mar-thà ‘s collect some stories behind the work ‘s dòcha, sgeulachdan fhaighinn bhon tha e air an làraich-lìn againn.

4 | DISCOVER | SPRING 2020

NEWS

A ‘ ’ ADDITION TO THE NATIONAL COLLECTIONS

e have filled a crucial gap in our collection of The Dandy weekly comic following our acquisition of the first Wissue. The Dandy Comic was launched in December 1937, costing two pennies for 28 pages. It was an instant success, selling more than 480,000 copies. Ian Scott, General Collections Curator, said: “In many ways, it was the first modern British comic, and should be of great interest to anyone researching popular literature. “Today, it is estimated there are only around 20 copies of the first edition known to be in existence, which makes this copy one of the rarest items in the Library’s collections. “We were pleased to add this first issue to our holdings – ensuring its preservation for future generations. We’re actively filling the gaps in our holdings of British comics and annuals. They tell us so much about the social mores of the time.” However, significant gaps of The Dandy in the national collections remain, particularly from 1937 – when the first Dandy was published – up until the 1970s. found in the text below the illustrations in Magic Comic in 1939. The Magic Comic was Ian added: “We appeal to anyone who may British comics. put on hold in 1941 due to paper shortages have pre-1970 editions of The Dandy – Watkins’s illustrative work on The during the Second World War. Its editor, or indeed its sister publication, Beano – Dandy, Beano, Oor Wullie and The Bill Powrie, was killed on active service to consider adding them to the national Broons was deemed of such importance aged 26. It was relaunched in the 60s as collections.” to public morale that he was excused a nursery title. The first editor of The Dandy was war service, but still served as a reserve The Dandy and Beano were reduced to 25-year-old Albert Barnes, who remained police constable in Fife during the Second bi-weekly frequencies during the war, and as editor until he retired 45 years later in World War. reverted to weekly in 1949. 1982. He had a large chin, which led many Dundee-based publisher DC Thomson It is believed The Topper and The to speculate that his was the inspiration was known for the ‘Big Five’ text- Beezer were the two other titles suggested for Desperate Dan’s jawline. based adventure story papers for boys: for the ‘Big Five’, but the idea never came As well as the character Desperate Adventure, The Rover, The Wizard, The to fruition. Dan, which was illustrated by Dudley D Skipper and The Hotspur, which were The Library holds complete sets of Watkins, issue one of The Dandy Comic launched in the 1920s and early 1930s. The Dandy and Beano annuals, which featured Korky the Cat and Keyhole Kate. It was decided to branch out into are perennially popular Christmas It was the first time most readers had ever humour comics, with The Dandy Comic gifts. Anyone can view these annuals, seen dialogue contained in speech bubbles planned to be the first in a second suite of and early editions of the comics, at our – up until then, dialogue was mostly titles, followed by Beano in 1938, and The Reading Rooms.

6 | DISCOVER | SPRING 2020 WORDS: EXHIBITION MScR students The University of Edinburgh

SCROLL REVERSAL Juxtaposing the digital and physical contributions women make to the Library forms the centre of the Who Taught Her That? exhibition celebrating Women’s History Month

SPRING 2020 | DISCOVER | 7 EXHIBITION

he National Library of Scotland we aimed to include as many areas of prides itself on providing women’s lives as possible, using artefacts free and easy access to its which addressed politics, sexuality, collections. As technology health, home life, and growing up. advances, the digital world We were particularly keen to feature Thas not only become an important part the experiences of women living in of our everyday lives, it has affected the Scotland and Britain, focusing on the Library’s established practices as more ways in which culture and customs and more of its legal deposit intake is have been passed down to subsequent received digitally. generations, as well as how they have The main question then is how to evolved over time. By placing digital and display something born digital (i.e. physical items next to each other, we material that has been created as a digital aimed to highlight and emphasise the resource rather than digitised after contrasts, similarities, and partnerships creation) as part of a public exhibition? that exist between different formats as visitors could engage with inspirational In search for a solution, the Library well as the possibilities of each. women guest speakers we had invited invited us, a group of Master’s students One of our main goals was to inspire to talk about their accomplishments by research following the Collections visitors’ participation at the exhibition, in different spheres of life. and Curating Practices Programme, to which was designed to appeal to every The idea was to encourage people approach the display of the Library’s person who identifies as a woman from to react to the objects on display and collections from a digital perspective. across all generations and backgrounds. create a discussion around them, which Our response – Who Taught Her That? Exhibitions can be associated with glass helped the Library and our group better – took the form of an exhibition, located cases that form a barrier, systems of understand what the public would like in the Library’s George IV Bridge Board security, institutional language, and to see in future exhibitions. One of the Room. Coinciding with Women’s History limited opportunities to leave feedback. main advantages of using digital content Month and International Women’s Day, it We wanted to show just how wrong that to encourage these conversations was its celebrated women’s contributions to the perception can be. To make the space as ability to accommodate the inclusion of Library’s collections, how the digital age welcoming and inclusive, as possible, we new perspectives. We could see ideas and has transformed the manner in which used a live feed of advice contributed via discussions evolve in real time. women express themselves, and how Twitter by our guests, held workshops, Visitors walked around the exhibition, audiences can engage with this material. and created a Conversation Corner, where exploring the different possibilities for As a team of five women curators who also enjoy using social media and online platforms to share thoughts and engage One of our main goals was to inspire with our peers, we noticed that much of women’s use of digital resources comes in visitors’ participation at the exhibition, various forms of advice and so we began exploring the history of different forms which was designed to appeal to every of instruction and guidance through the person who identifies as a woman from Library’s extensive collections. When putting together the exhibition checklist, across all generations and backgrounds

8 | DISCOVER | SPRING 2020 CURATORS Left to right: Aija Cave, Meg Dolan, Amy Trantum, Rada Kuznetsova and Melanie Magolan. BELOW: Evolving portrayals of women

display of the digital and the physical to consider not only the materials, after which they were passing-down of advice, encouraged to join the Conversation in all its forms, but also the Corner, as well as leave some feedback role new forms of media or share advice of their own and interact and technology can play further on our corresponding exhibition in the future of the public website. We encouraged people to think institutions and the scope about the difference in their perception of information they will and treatment of the information they then be able to share with encountered or acquired through the public. both formats. Additionally, we wanted to explore questions regarding the perceived value of physical items in comparison to the digital content, and the reactions people have to them. This exhibition was a preview to the possibilities that digital now provides for the curators and the public. It explored how in the future, curation could be a more open discussion with the audience at each stage of its production. Social media gives us an opportunity to vocalise our thoughts, experiences, and hopes, offering a greater than ever opportunity to institutions to hear what the public has to say to them. It is our hope that Who Taught Her That? encourages viewers

SPRING 2020 | DISCOVER | 9 EXECUTION BROADSIDES

Execution Broadsides were the first draft of Scotland’s history of capital punishment. Simon McFadden takes a look at these bloodthirsty ‘tabloid tales’ from a bygone age

efore capital punishment for murder was WORDS: abolished in 1969, the last execution in Simon McFadden Scotland was the hanging of a man named MRes student, Edinburgh Henry John Burnett in 1963. Napier University The death of Burnett marked the end Bof what was a widely used practice throughout Scottish history, ranging from beheadings to hangings. Public executions were carried out for diverse crimes, from witch-hunts in the 16th century to the punishment of thieves in the 18th century. A version of this history of capital punishment in Scotland is told in 18th and 19th century broadside literature. Long before the days of social media, 24-hour news channels and radio, ordinary Scots relied on single sheets of paper (broadsides), costing one penny, in order to find out what was going on. For around 200 years, up until the mid-19th century, broadsides were the tabloids of the day in Scottish society, an affordable alternative to newspapers for working-class Scots. Over the past century, the National Library of Scotland has acquired a number of these precious sheets and most of them are now available online through The Word on the Street on the Library's Digital Gallery. This digital resource enables contemporary readers to delve into the past and discover just exactly what the “word on the street” was in bygone days in Scotland. This collection contains broadsides relating to crime, politics, religion and much more. NO NOOSE IS BAD NEWS: Public executions were events which Scots attended OPPOSITE PAGE: Image contained in a in large numbers and with great enthusiasm in the 18th broadside concerning the execution of Elizabeth McNeil in 1835. and 19th centuries. Some cities got the opportunity

10 | DISCOVER | SPRING 2020 A PENNY A HANGING

to witness executions more often than others. However, not everyone had Public executions the chance to attend public executions were events which and thus they relied on broadsides for details of convicts and the events Scots attended leading to their execution. The Word on the Street contains 147 broadsides in large numbers relating specifically to executions and executioners. and with great There was more than one way to tell enthusiasm in the story of an execution. A number of capital cases concern convicts with the 18th and very different backgrounds, crimes and circumstances. Public opinion varied, 19th centuries depending on each case, hence these stories of execution could at times be executed. Certain themes, moreover, presented differently. Broadsides used were consistently prevalent in broadsides, key adjectives to dictate who was and such as the use of religious rhetoric, who was not worthy of public sympathy. moral messages and warnings to the While some broadsides told the story public against evil temptations. of a “melancholic” crowd gathering to Broadsides offer insights into attitudes witness the end of an “unfortunate” that existed at the time pertaining to young convict, others told the story of execution and not all are perhaps what an “ignominious” end of an evil wretch. we would expect. Executioners had the My findings in the course of research unenviable task of carrying out the for an MRes degree at Edinburgh Napier death sentences. Because of their special University on the history and cultural status, their own deaths warranted more representation of capital punishment than a formulaic line in a newspaper. in Scotland indicate that age, gender, Based on the representation in religion and nationality were all factored broadsides, hangmen were held in high into representation of the person being regard and their deaths were reported

SPRING 2020 | DISCOVER | 11 EXECUTION BROADSIDES

Unfortunately, not every story told in broadsides can be deemed accurate, and some were riddled with spelling mistakes

as particularly sad occurrences. Scots of concerning one of Scotland’s most bygone days had a particular appreciation notorious criminals, namely those of a hangman who could get the job done relating to the execution of William right. This is evident in the fond report Burke in 1829. Burke is perhaps the about former Edinburgh hangman Jock most infamous convict to be executed in Heigh’s (John High) death, noting he never Scottish history for his involvement in botched an execution throughout his 16 murders, with his accomplice William career. The same broadside takes aim Hare, in order to supply bodies to the at an incompetent hangman who was anatomist Dr Robert Knox for money. responsible for bungling an execution. The case attracted immense attention Contemporary audiences can rest and provoked outrage. No other convict assured that dubious news reporting in Scotland was the subject of such predates modern times. Unfortunately, widespread vilification in print. Whilst not every story told in broadsides can be some broadsides offered a sympathetic deemed accurate, and some were riddled account of convicts, broadsides with spelling mistakes. There is no record concerning Burke told the story of Scots to support a number of executions which reacting to the execution of a monster were reported in broadsides. with a loud “huzza”. In fact, the only Additionally, representations of real reported dissatisfaction of the Edinburgh executions often blurred the lines crowd attending his execution was the between fiction and reality. Having the fact that Hare, having turned King's monopoly on what the majority of the evidence, had escaped punishment. general public knew about convicts and Among the other notable cases executions, the usually anonymous covered in the broadsides is the one of broadside authors took liberties through Mary McKinnon, an innkeeper executed presenting sensationalised accounts. in 1823 for murder. In contrast to the They wrote poetic, often humorous representation of Burke, the press’s lamentations, presented as having impression of McKinnon was more likely been spoken by the convict, as well to elicit compassion through focusing as songs written to be sung aloud, thus on her troublesome personal history. indicating that broadsides served As detailed in one broadside, she had BURKE & HARE: ABOVE: Image contained in a broadside concerning equally to entertain as well as to inform been disowned by her father, abandoned William Burke, noticeably Burke is misspelt “Burk”. the readership. by her lover and left to raise a child on The Word on the Street collection her own, which placed her in difficult BELOW: An illustration of Burke’s hanging at the head of Libberton’s Wynd in Edinburgh’s Old Town contains fascinating broadsides circumstances. Inclusion of these details effectively humanised her and contextualised her crime. Capital punishment may be a fading memory in Scotland, but it has left its mark on Scottish society. In Edinburgh for example, former execution sites are still marked as historic sites of interest and have inspired the names of several pubs. In addition, stories featuring executed convicts, such as William Burke, Maggie Dixon, Robert Johnston and John Chiesley have stood the test of time and have inspired endless stories that have been told and retold in literature, movies and walking tours. Burke’s skeleton has previously been on display in the University of Edinburgh’s anatomical museum. Also, other capital convicts of bygone centuries, such as Johnston, are reported to have been seen roaming the streets of the city as ghosts!

12 | DISCOVER | SPRING 2020 DIGITISATION THE GRACE RACE Time was running out for Scottish Ballet to save delicate videos of past performances… until it formed a partnership with our Moving Image Archive

WORDS: Stewart Hardy Marketing Officer

cottish Ballet holds a fond amassed a large video archive. As its place in the nation’s cultural 50th anniversary approached in 2019, life and is one of the world’s thoughts turned to preserving this leading ballet companies. precious history. The archive not only Founded by Peter Darrell and contains unique performances from the SElizabeth West as the Western Theatre first 30 years of the company’s history, Ballet in Bristol in 1957, it subsequently but glimpses ‘behind the scenes’ at moved to Glasgow in 1969 and was rehearsals and community events. renamed Scottish Theatre Ballet, Scottish Ballet contacted the Moving changing to Scottish Ballet in 1974. Image Archive at the Library for our In its lifetime, Scottish Ballet has expertise in preserving this important

Constance Devernay and Andrew Peasgood in Scottish Ballet's world premiere of Christopher Hampson's The Snow Queen. © Andy Ross

SPRING 2020 | DISCOVER | 13 DIGITISATION

record and making it available to as wide THE RECORDINGS complement the performances, an audience as possible. “When I first saw the digitisation of occasionally with feedback notes and Margot Fonteyne dancing in La Sylphide commentary by the dancers. Kirsteen THE DIGITISATION PROJECT I was astonished,” said Scottish Ballet’s Connor, Project Cataloguer, has been Digitising these videos to the highest Digital Archivist, Sophie McCormick- working with our curators and the quality for preservation means that Gow. “I had never seen this footage of Scottish Theatre Archive at the these amazing performances will be her dancing. Having been at Scottish University of Glasgow to enhance the saved for posterity. If it is not digitised Ballet when we produced Matthew catalogue’s descriptive detail. soon, it will be lost forever. For the Bourne’s Highland Fling (based on Performances feature choreography Library, this is an opportunity to La Sylphide) I was instantly able to by Robert North, Ashley Page, Robert preserve and make available a unique identify the original choreography, Cohan, Jiří Kylián, Frederick Ashton, archive, and also to fill a gap in the story and style. Fonteyne, whom I Kenneth MacMillan, Michel Fokine national collections – we have no other had seen in so many photos, was and George Balanchine with dancers ballet footage from years past. instantly recognisable. She truly is an including Ivan Nagy, Adam Cooper, Daria Working in partnership, the National amazing dancer.” Klimentova and Elaine McDonald. Library and Scottish Ballet project The archive consists of hundreds of team brought in staff including video tapes containing more than 500 THE PROBLEM a video preservation technician and hours of recordings. Most are of ballet Magnetic media such as video tape a cataloguer. Equipment was purchased, performances, from classical ballets relies on machines working sufficiently including three high-specification on stage to short contemporary dance well to display and copy the material. computers and tape playback machines films. There is also behind-the-scenes These machines get harder to that enabled an efficient digitisation footage, showing how productions come effectively maintain as time passes, workflow. The project was made to life on stage, together with footage while the tapes slowly degrade. possible with funding from donors of rehearsals, interviews and Scottish The archive footage is on Betacam, including the William Grant Foundation Ballet’s community engagement VHS, U-Matic and SVHS tapes, which and the Foyle Foundation. programme. are fragile and impermanent formats. Tapes were prioritised for digitisation The collection offers an exciting Each viewing shortens a tape’s life and from an initial visual appraisal using the opportunity for research, as people they deteriorate whether viewed or not. information on the labels or in the tape can compare and contrast the same Some of the older tapes are in danger boxes, and drawing on the knowledge of ballet performed in different decades, of being unplayable, even just once colleagues at Scottish Ballet. The digital locations or with different dancers. for digitisation. files will be preserved in perpetuity Studio or dress rehearsal recordings An example is The Prisoners, one of by the Library with full-length copies available online on our premises to view and enjoy. Clips from each tape are also Preserving video is a race being selected and digitised to offer a ‘taster’ of the collection to online visitors against time who may not be able to visit the Library. ANN CAMERON, CURATOR OF MOVING IMAGE

14 | DISCOVER | SPRING 2020 Peter Darrell’s early works based on Jess has also had to deal with ‘sticky- music from Bartok’s Four Hungarian shed syndrome’, where the recorded Folksongs, and performed by Scottish HIGHLIGHTS material sheds from the tape’s plastic Ballet in 1982. One particular tape INCLUDE backing as a result of water damage. of this performance required 101 It’s often slow and painstaking work, separate captures! It took a whole day  60 hours of the work of Scottish but it’s necessary so this footage can to nurse this one tape through the Ballet’s founder, Peter Darrell. be kept for the nation. tape player and careful cleaning was o Giselle (1971) required due to tape shedding. Ironically, o Nutcracker (1975) This was THE RESULTS it is in fairly good visual condition and revived in 2013 and is now The project has resulted in more than although there is significant dropout, toured every three years 200 Scottish Ballet performances visually it is not as poor as some o Mary, Queen of Scots (1976) being preserved for the nation. It offers other tapes. o Such Sweet Thunder (1987) a unique record of the development o Economy in Straitjacket but Still of classical and contemporary ballet THE TECHNICIAN Room for Movement (1978) in Scotland and the development and Jess Cooling is the Video Preservation o Five Ruckert Songs (1978) history of the national ballet company. Technician for the project. Digitising Ann Cameron, Curator of Moving tape presents many technical  The Waters Edge (1979) Image, said: “Preserving video is a race challenges that haven’t been Choreographed by Robert against time. This project heralds the encountered before, which encourages North for the Company’s 10th start of a continuing relationship with a creative problem-solving approach. anniversary Scottish Ballet where we will receive As Jess explains, “everyone has VHS further works as they are made.” tapes lying around the house, but what  To the Last Whale (1982) Peter Visitors to the National Library of people might not know is that their VHS Royston’s experimental ballet, set Scotland at Kelvin Hall can now browse tapes have a limited lifespan”. to songs of the humpback whale almost 50 years of ballet alongside more Jess has used a number of techniques than 7,000 other film titles and all the to facilitate digitisation. “One technique  A Midsummer Night’s Library’s digital collections. we use to improve digitisation and Dream (1993) Scottish Ballet is also now raising playback is ‘baking’ – placing the video funds to restore 75 audio tapes of tapes in a special oven that heats them  Swan Lake (1995) With costumes orchestral recordings dating back to to 50°C and removes any moisture that by Jasper Conran 1969, which would sit alongside our might interfere with playback,” she said. digitised ballet performances.

 Come and view the Scottish Ballet footage at the National Library of Scotland at Kelvin Hall from 26 March

SPRING 2020 | DISCOVER | 15 CONSERVATION MEET THE MAN WHO HELPED US MAKE A SUPERB EXHIBITION OF OURSELVES

ccepting a job he knew finishing. That became an area I nothing about turned out specialised in. well for Gordon Yeoman. He “I believe bookbinding is an art form, retired from the Library in especially when it comes to conservation. March having played a vital It’s extremely satisfying to take a sorry- Arole in changing the way we plan, produce looking book, strip it down, repair, resew and present our exhibitions. while keeping most of its original features Our former Exhibitions Conservator and turn it back to a recognisable book.” explained: “When I left school in 1976, I had plans to become a compositor, the TURNAROUND job my grandad did. Circumstances changed in 1981 when “I applied to Her Majesty’s Stationery part of the team relocated from the Office (HMSO) where there were two HMSO premises in Sighthill to the posts up for grabs; a compositor and building adjacent to the Library on Gordon Yeoman has retired a bookbinder. I had no idea what a George IV Bridge. Gordon became part after a whole career spent preserving knowledge for bookbinder did, but they offered me that of that relocated section and was based future generations job and I took it. Fortunately, I loved it in George IV Bridge until he retired, the from the first minute.” team moving to its current location in the In those days, HMSO bound every type Library in 1986. standard practice, and numerous other of publication, including magazines and The change in his career took place developments have taken place since. books. The organisation carried out work in 1996. “I was happily involved in “Every step is taken to make sure for the Library (eventually Gordon and his conservation when the person who made conditions are right,” Gordon said. colleagues would become direct Library stands for Library exhibitions retired and “Among other things, there are meters employees). “We had to deal with new I was asked to take that on,” Gordon said. in every case to constantly measure the bindings and repair old leather-bound “Soon after, the exhibition side of work at environment. We make bespoke cradles books. It was the Library took off and since 1996 that’s for every exhibit, specially designed for intricate work, all I’ve concentrated on.” that particular book and the pages it’s part of which Although Gordon’s original task was opened at. involved the to make stands, it struck him quickly “Above all, we plan every exhibition gold tooling that the Library could improve the way it meticulously and make sure we’re and letter staged exhibitions. He said: “I’d seen other prepared for any eventuality; if the organisations operate and noticed they heating or air conditioning breaks down were extremely thorough and careful. No in the building, we’re ready to respond. one was allowed to handle items except “Teamwork is essential. We work their specially trained staff. This was with some incredibly clever people; something we didn’t necessarily do. curators, designers, set builders, lighting “We have extremely valuable material experts and our own reprographics and that is affected by its environment, exhibition team who always come up temperature, humidity, light levels, and so with brilliant ideas.” on. It’s essential that all of these elements are carefully controlled if we want to DIFFERENT CHALLENGE conserve our collections. Experience has told Gordon that every “I strongly believed that it should exhibition provides a different challenge. only be those with the right training “I remember we borrowed the John and skills, that is, those in the James Audubon book Birds of America conservation department, who should from Renfrewshire Council,” he said. handle the pieces.” That soon became “It’s extremely rare and valuable and,

16 | DISCOVER | SPRING 2020 physically, it’s a massive publication. I had to come up with a bespoke stand while the people from Paisley Museum FROM SUNLIGHT TO SNOWBOUND anxiously looked over my shoulder.” As Exhibitions Conservator, Gordon’s “The Library has two books signed He also recalled exhibiting Mary Queen job involved couriering Library material by George Washington and I’ve had of Scots’ last letter, which brought queues loaned to overseas exhibitions. He to escort them to the United States to the Library, and Lifting the Lid from remembers several occasions very well: on two occasions. 2015, which focused on 400 years of “One large shipment was in 2014 “One took place at the Washington Scotland’s food and drink. “It was a bright when I took 92 items to Asia. They family home at Mount Vernon, Virginia. exhibition with brilliant graphics that related to James Stewart Lockhart, It was an impressive exhibition and appealed to people of all ages.” 19th century Registrar General and I felt very proud during the opening, A significant development Gordon Colonial Secretary of Hong Kong who which focused on links between regrets he will miss is the opening of the had attended George Watson’s College Scotland and the US, and I shared Library’s new treasures gallery. He said: in Edinburgh. Many of the items were the stage with the First Minister “There are some very special items such large and they included beautiful of Scotland. as the Gutenberg Bible, and the Chepman handwritten Chinese posters printed “On the other occasion, the and Myllar prints, the earliest printed on rice paper. exhibition took place at George books in Scotland, which only go on show “With every loan, we receive a report Washington Museum. I was staying on occasionally. The new area will provide the from the location telling us about the campus but on the day the books were chance to show these items more often.” conditions. On that occasion, everything to be installed I received a call asking And he has no doubt he will miss the had gone well until the day I was due to me to look outside; five feet of snow job and his colleagues. “I’m lucky to have return. For the most part the weather had fallen overnight. I was yards from made lots of good friends over the years.” had been dull, but suddenly the sun came the site but conditions were so bad Gordon began his 44-year career out and light was streaming through my hosts had to send a pick-up with with a job he knew little about. However, the glass ceiling directly on to one of our plough attached to ferry me there. After he can retire knowing he’s helped the books. After much to-ing and fro-ing the which I had to dig out my hire car for Library gain international recognition for staff, who were mightily embarrassed, my flight home, which was later that its ability to exhibit – and protect – its agreed to paint over the ceiling. same day. Luckily, I made it.” culturally priceless artefacts.

SPRING 2020 | DISCOVER | 17 GEORGE ELIOT

An echo in the READER’S MIND Marian Evans’s correspondence with her Scottish publisher gives an insight into the complex relationships that created her alter ego, the literary great George Eliot.

WORDS: Kirsty McHugh John Murray Archive and Publishers Collections Curator

18 | DISCOVER | SPRING 2020 he author Marian Evans was born in November 1819. But Evans did not become the novelist ‘George Eliot’ – famous for realistic and sympathetic Tportraits of provincial life – until 1857. In a letter to her publisher dated 4 February 1857, which is held in the National Library’s archives, Evans first signed herself ‘George Eliot’. Amos Barton, the first of a series of short stories which made up Scenes of Clerical Life, had been offered to William Blackwood & Sons via Evans’s partner George Henry Lewes for use in Blackwood’s Magazine, a publication to which Lewes was a contributor. Lewes hid the identity of the author, but it became necessary to include a name on the title page of Scenes when the collected tales were issued in book form in 1858. Evans chose a pseudonym in order to have her writing judged fairly. Biographers have suggested a number of Evans first signs factors which contributed to her choice herself “George Eliot” of a male pen name. Most importantly perhaps, Evans did not want critics and readers to be influenced by her (then at 45 George Street in the New Town – he came to know that she also seen as unacceptable) relationship with stayed in family hands until 1976. appreciated honesty and sincerity. the married George Henry Lewes, and Correspondence between Evans and Evans confided her fears to Blackwood to keep her novel writing separate from her publisher, preserved in the William over completing Middlemarch: “I am her career as a critic and essayist. Some Blackwood & Sons archive here at the thoroughly comforted as to the half of the commentators have pointed out that Library, offers unique insights into work which is already written – but there despite discrimination in the literary Evans’s writing career and how she remains the terror about the unwritten.” world, by the mid-19th century women negotiated being George Eliot. In his letters, John Blackwood relates were accepted as novelists. However, John Blackwood recognised Evans’s his initial reaction to reading instalments her experience as an editor at the talent and was tactful and patient with of her novels in manuscript, and relays Westminster Review would have made an author who was often depressed and feedback from authors and critics, Evans acutely aware of the way in which anxious about her work. Blackwood family members and employees. Evans’s an author’s gender affected the reception understood the need to bolster his circumstances (particularly her socially and reputation of their work. author’s confidence but, as their unacceptable cohabitation with Lewes) Blackwood’s Magazine was founded professional relationship progressed, made her isolated, and Blackwood went in 1817 by Edinburgh publisher William Blackwood and was a respected literary journal for a middle-class family It is a most wonderful study of human readership. The Blackwood brothers did not know the real identity of the author of life and nature. You are like a great giant Scenes until 1858, although they guessed it was Marian Evans. John Blackwood, walking about among us and fixing every Evans’s editor, entered the family business in 1840 and was involved in one you meet upon your canvas. In all this setting up the firm’s London office in Pall lifelike gallery that you put before us every Mall, before returning north to Edinburgh to take over the editorship of the trait in every character finds an echo or magazine, and later run the publishing house with his brother Major William recollection in the reader’s mind that tells Blackwood. After Major Blackwood’s death in 1861, his son William took his him how true it is to Nature place in the firm and the business – based JOHN BLACKWOOD ON MIDDLEMARCH

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Middlemarch was first RECORDS OF published in eight instalments in Blackwood’s Magazine PUBLISHING AND THE BOOK TRADE AT THE NATIONAL LIBRARY

The importance of Edinburgh as a centre for printing and publishing is reflected in the Library’s internationally significant archive and manuscript collections in this field. Papers of Scottish publishing houses (or those founded in London by Scots) including William Blackwood & Sons, W & R Chambers, John Murray, Smith Elder, Oliver & Boyd, and Canongate are rich resources for literary and book history. We also hold papers of stationers, booksellers, and printers such as James Thin, R & R Clark, W & A K Johnston and George Waterston & Sons. We continue to collect actively in these areas. out of his way to offer support through bending myself to their tastes,” as she and fellow authors like Charles Dickens letters, presents, dinner invitations and expressed it to Blackwood. He saw the and Elizabeth Gaskell, but a popular and other friendly gestures. difficulties of promoting her novels widely read author. Speculation over the identity of George to a mass audience, noting of Adam Bede When John Blackwood died, Marian Eliot in the press, however, did lead to that his only reservation was “really Evans wrote to Charles Lewes: tensions between author and publisher. to enjoy it I required to give my mind to “He has been bound up with what Evans’s suspicion that John Blackwood it and trembled for that large section of I most cared for in my life for more than was putting business above her best novel readers who have little or no mind twenty years and his good qualities interests, worries about money and rocky to give”. Working together, Evans, Lewes have made many things easy to me negotiations over The Mill on the Floss, and John Blackwood turned George Eliot that without him would often have contributed to an uneasy relationship into a novelist not only admired by critics, been difficult.” in the late 1850s. He was aggrieved too, feeling that Evans was over-inflating the critical and financial success of Letters in Evans’s hand from the her works, and being manipulative in Blackwood archive threatening to find a new publisher. In 1862, after publishing four works with Blackwood, Evans accepted an offer of £10,000 (about £500,0000 in today’s money) from Smith Elder for her Italian historical romance, Romola. The work, however, was stressful to write and financially unsuccessful for the publisher, and Evans returned to Blackwood for the publication of Felix Holt (1866) and all her subsequent works including her most famous, Middlemarch (1871). Publisher and author knew the reciprocal benefits of working together to grow George Eliot’s literary reputation and maximise sales. Evans understood that her realistic fiction was not necessarily suited to all readers’ tastes and she might appear inflexible: “incapable of

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