For the past few years, I have been working on the conservation treatment of the Lawrence Notebooks, a remarkable collection of 99 handwritten volumes created by William J. Lawrence that document his extensive research on the Irish stage from 1630 to 1911. Over many years, Lawrence filled these small, lined notebooks with careful handwriting, news clippings, photographs of actors, typed play transcriptions, and detailed notes on theaters, performances, ticket prices, and even personal anecdotes. Together, the notebooks offer a rich and vivid window into the history of Irish theater and the cultural life of Dublin from the seventeenth through the early twentieth centuries.

This project was a collaborative effort and was completed gradually over several years, with individual volumes treated alongside other conservation projects rather than all at once. Our former colleague Chris Voynovich created custom cloth-covered clamshell enclosures for all 99 volumes, while I was responsible for the evaluation and conservation treatment of the notebooks themselves.

Although the Lawrence Notebooks shared a broadly similar format, closer examination revealed subtle but meaningful variations in both their covers and text blocks. Most volumes were small, square notebooks with thin boards covered in cloth or paper covers, in a range of muted colors including red, orange, green, blue, and black. The text blocks were generally composed of one or several gatherings sewn through the fold, with the primary support most often being lined paper.

Once all the volumes were received in the lab, each notebook was evaluated for its condition and assigned to one of three categories: good (no treatment required), fair (requiring stabilization), or poor (requiring more extensive treatment). The notebooks showed clear signs of long-term handling and use. Many volumes had weakened or detached covers, some of which had been previously repaired with pressure-sensitive tape. Other common condition issues included broken sewing, tears along the spine folds of the text block pages, and brittle newspaper clippings that had also been repaired with pressure-sensitive tape.

When determining the most appropriate conservation treatment for each volume, it was also important to consider their future digitization. Treatments were selected to stabilize the notebooks while ensuring they could be safely opened, handled, and imaged without placing additional stress on the original materials.

Most of my conservation treatment ended up being hours spent removing pressure-sensitive tape, many more hours toning Japanese paper with acrylics for the repair and stabilization of paper covers, along with surface cleaning and a lot of time dedicated to tear repair. 

Completing the conservation treatment of all 99 Lawrence Notebooks marked the end of a project that unfolded slowly over several years. Because the work was done alongside many other conservation projects, progress often happened one volume at a time, making the moment when the final notebook was finished feel especially satisfying.

With treatment complete and each volume now housed in a custom clamshell enclosure, the Lawrence Notebooks are stabilized and better supported for future handling, digitization, and research. While the notebooks still show the signs of long use that make them such compelling working documents, they are now structurally sound and prepared for the next phase of their life in the collection. 

Projects like this reveal how conservation work happens slowly and methodically, often behind the scenes. Completing treatment on all 99 notebooks and seeing them reunited as a stabilized collection reinforces the importance of long-term care in preserving these records of Irish theatrical history for future research and access. 

The Lawrence Notebooks shelves in the Archives and Rare Books Library stacks.

Catarina Figueirinhas – Assistant Conservator