To start, I feel this post needs a disclaimer – there is no way I can cover all the inspiring women who have played important roles in the life of the Institute of Education. These are just snapshots, hopefully they will inspire people to look further and read more about these women. I have put them in order of date of birth, in an effort to equalise any hierarchy of perceived significance.

Explanation of abbreviations;
LDTC – London Day Training College, the name of the IOE on its founding in 1902
IOE – Institute of Education, the name adopted in 1932

Margaret Punnett (1867-1946)

As Mistress of Method and later Vice Principal at the LDTC, she was responsible for organising and overseeing the teaching of the women students, and had overall responsibility for the teaching of maths, to which scripture and psychology were later added. She lectured also on the Principles of Education.

For many years she carried the main burden of administration, and also took a personal interest in students and their welfare.  When she retired the responsibilities of her post were divided, perhaps demonstrating how much work Punnett carried. It is interesting to note that, at a time when women’s salaries were generally lower than those of men with the same level of responsibility her salary on appointment, and subsequently, often equalled that of her male colleagues’.

Clotilde Rosalie Regina Von Wyss (1871-1938)

Clotilde von Wyss was a pioneer of educational broadcasting and film.  Her teaching at the LDTC was enriched by her introduction of collections of plants, an aquarium, artists’ materials and animal photographs. In an article Nature Study for Fidgety Children in the Londinian, the Student Union magazine (Summer 1909), von Wyss expressed her belief in practical manual work as an outlet for children’s natural energy; one example was the creation of gardens in boxes brought in and painted by the pupils. She offered two separate courses in biology at the LDTC, for specialists and non-specialists and, in the 1930s, a special voluntary course for the colonial group.  In addition to her work at the college she taught on a voluntary basis at Wormwood Scrubs prison. In retirement she acted as adviser to producers of a film on Wood Ants.

Susan (nee Fairhurst) Isaacs (1885-1948)
Susan Isaacs was an influential child psychologist, her primary interest being in child development. She had had a varied career before joining the Institute of Education, including several years as Head of an experimental school in Cambridge, and was an advocate of nursery education.

At the Institute of Education she was the first Head of the new Department of Child Development. The Department grew rapidly, her work and reputation bringing prestige to the Institute. When the Institute was evacuated to Nottingham in 1939, and the department temporarily closed, Isaacs led the Cambridge Evacuation Survey.  Illness prevented her from returning as Head of Department when the Institute moved back to London in 1943 and she was succeeded by one of her earliest students, Dorothy Gardner.

Between 1929 and 1940 Isaacs, under the pseudonym Ursula Wise, was an “agony aunt” replying to readers’ problems in child care journals. She also had her own practice as a psychoanalyst, which she maintained while working at the Institute. Isaacs was awarded the CBE in 1948.

Grace Mary Wacey (1894-1987)
During her 38 years at the LDTC/IOE Grace Wacey saw it grow from a small college chiefly engaged in preparing students to teach in London schools, to a major academic institution with an international reputation.  The changes were reflected in the scope and responsibility of her own post: starting off as the only full time member of administrative staff, by the time of her retirement the complement was about 50, over which she, as Secretary, presided.

Grace Wacey was remembered as an approachable, kindly yet firm administrator – so much so that in 1984 the IOE organised a party to celebrate her 90th birthday. In 1953 she was awarded the MBE in the Coronation Honours.

Margaret Gladys Calthrop (1886-?)
At the LDTC/IOE Margaret Calthrop taught French and German, lectured in methods of teaching Modern Languages and supervised student teachers’ school practice.  She was one of a number of subject tutors who sought to make learning her subject more interesting to children, incurring some opposition from those who wondered whether the essentials of grammar were receiving sufficient attention. Her demonstration lessons attracted a good deal of attention, one on a La Fontaine fable drawing applause from children and students.

In the mid-1930s she suffered health problems.  Restored to health she continued to work until she reached retirement age in 1952; she was then offered the possibility of remaining on for a time, but decided not to accept.

Margaret Helen Read (1889-1991)
Margaret Read joined the Colonial Department after five years engaged in missionary social work in India. She had carried out research in anthropology at LSE, and been awarded a doctorate.  She took charge of the department during the war years and became Head in 1945.

She was a pioneer in applying social anthropology to issues in the developing world, with a particular interest being the nature of cultural change affecting families and individuals who, having for generations practised agriculture in villages, had become part of the industrial proletariat. She thought that education in colonial territories should not be simply in basic skills, but also in citizenship and social relations, taking account of cultural traditions, and she stressed the need for adequate histories of education in each territory, to provide an objective description of what had happened since the earliest European contacts.

Read was a member of, and advisor to, various governmental, and world-wide organisations. In 1948 she was awarded the CBE for work in connection with colonial education.

Marion Elaine Richardson (1892-1946)
As art mistress at Dudley High School Marion Richardson started to develop a child-centred approach to art education, encouraging pupils to use memory and visual imagination in creating art works. At the LDTC she established a specialist course for students training to teach art. She was one of several subject tutors who challenged the prevailing methods of teaching in schools. In addition to her work in schools and the LDTC, Marion Richardson taught classes in Winson Green and  Holloway prisons.

Her ideas about child centred art education gained international recognition, while her book Writing and Writing Patterns remained in use in schools for some 50 years. A London school, Senrab Street in Stepney, has been renamed Marion Richardson School in her memory.

Sophia Weitzman (1896-1965)
Weitzman had progressive ideas on methods of teaching history and on the contents of the school curriculum which, she felt, had traditionally been overly concerned with political and constitutional matters.  She believed in working from the realities of children’s lives, and saw the value of visits in arousing their interest in history. Weitzman also considered that school should no longer be a forcing house for knowledge, but should prepare children for social living, encouraging initiative and independence.

Her lectures to students on teaching methods spelled out ways in which historical content might be communicated through the medium of active interest, including modelling, drawing, talking, writing and acting of historical plays, historical excursions, films and radio talks.

Like many of her colleagues at the Institute, Weitzman was interested in the educational systems of other countries, and in her later years she devoted much time to work with students who studied Indian education.

Geraldine Susan Maud de Montmorency (1900-1993)
Geraldine de Montmorency’s appointment as the first Librarian of the LDTC was on a part time basis. Realising the restrictions of this, with the help of students from UCL’s School of Librarianship, she worked on cataloguing and on a classification scheme within the subjects. Additions to the stock came from donations of books and material, as well as purchases.

Over the years de Montmorency increased the number of days she spent at the Institute, in 1940 her post was made full time. Both before and after the second world war specialist collections were developed, e.g. in the fields of colonial education, child development, comparative education and English as a foreign language. Although the marriage bar had been lifted some years earlier, the expectation that women could not cope with working and managing home life prevailed, and de Montmorency retired her post at the IOE upon marriage in 1957. By the time Geraldine de Montmorency resigned her post, the Institute Library had grown massively, with a stock over 50,000 volumes, and had achieved an international reputation.

Dorothy Ellen Marion Gardner (1900-1972)
Dorothy Gardner trained as a Froebel teacher, then worked with young children in a variety of settings and as a trainer of teachers and nursery nurses before becoming a part time student on the new advanced Child Development course at the IOE, while lecturing at Bishop Otter College.  As a student she greatly admired Susan Isaacs, the first Head of the new Department of Child Development, and in due course succeeded her.

Gardner became head of the Department of Child Development in 1943. When teaching – which included a course on the needs of young children in war time – resumed in January 1944 it had to take place in the evenings because teachers were unable to get paid leave. In 1948 Gardner established a research centre at Coram Fields: one of its projects, conducted jointly with the Institute of Child Health, was a long term study of local children.

Gardner played an important part in shaping the development of child centred education.   A highly regarded community nursery centre in West London, catering for 100 children, bears her name.

 

A number of these women recount their experiences in the volume Studies and Impressions, 1902-1952 Harrison, A. S., and University of London.  [edited by A. S. Harrison … Et Al.]. London: Evans Brothers for the U of London Institute of Education, 1952. Print. https://ucl-new-primo.hosted.exlibrisgroup.com/permalink/f/5qfvbu/UCL_LMS_DS21167882720004761

Further biographical information has been collated from the Institute archives. Extended profiles of most of these women are available on request from the IOE archives ioe.arch-enquiries@ucl.ac.uk

 

If you have any ideas of who could be included in this list, and why they should be here, please add them in the comments.

Parts of this blog also appear in a post on the UCL Teaching And Learning blog

 

How do you teach the materiality of rare books, manuscripts and archives without the materials themselves? That was the challenge facing Special Collections’ staff when, at just a few days’ notice, academic activities suddenly moved online two weeks before the end of Term Two, just when students’ deadlines were looming.

Special Collections ordinarily runs roughly 50 classes a year, embedded across the University’s curricula and involving up-close encounters with physical collection items for over 1,000 students. Add to those a further 50-odd events a year supporting academic research and public engagement, from conferences to workshops to festivals. With getting up-close to most things – collections or humans – suddenly cancelled, we faced an innovation challenge, and had a lot of collaborators and participants to contact very fast in those first few days.

Student coursework

Our immediate challenge was students’ assignments. Over the past eight years, the Academic Support Team at Special Collections has worked with academics to develop modules that require in-depth study of our unique collections. Now, students needed to finish their coursework at a distance.

Impressively, many were already well acquainted with the features that made their chosen items unique, such as this Early Modern hedgehog:

But as enquiries arrived about items not yet digitised, we worked with students to re-frame their essay or dissertation questions so that work could be completed to a high standard despite our reading rooms being temporarily closed. For those working on printed material rather than archives, our rare-book cataloguers also searched for online images of similar features in other institutions’ collections – bindings, annotations, scripts, bookplates, printers’ marks – or images of other copies as close to the same imprint as possible – not an easy task for hand-printed books, which are each unique. This was a new area of collaboration between Special Collections’ Academic Support, Rare Books, and Retrospective Cataloguing teams, and sharing expertise greatly increased the speed at which we could get responses out to students who were working to coursework deadlines.

Digital images

In the process, we learnt a lot about the limitations of many institutions’ platforms for digitised special collections. It is often surprisingly difficult, for example, to discover which copy, and whose, you are looking at, let alone find your way to the full catalogue record for the physical original.

So our Digitisation Team, while waiting to be able to access the physical collections to photograph more items in full, have pulled together as many existing single images of our own collections as possible. Starting with rare books to supplement our existing Digital Collections, they are uploading more images every day to a new rare-books area of our Digital Collections, complete with collection descriptions lower down the page. We’re aiming, where we have them, to include images of features often omitted on other sites, such as bindings, annotations and provenance marks: anything that enhances the sense of the three-dimensional materiality of our items.

Meanwhile the cataloguers are checking that the metadata for our images matches that on our catalogues. Crucially, they are adding a link from the library catalogue record of the physical original through to the digital images. See, for example, four images from this book of maps and images of Shoreditch, now available from the catalogue record for UCL’s copy of the physical original.

Preparing for Connected Learning

Next we needed to find ways of fitting our summer and autumn programmes into UCL’s plans for online learning. Most of our activities involve object-based learning, so to prepare asynchronous resources, we needed both digital images and ways of allowing students and participants to explore our collections in three dimensions. We also needed to develop online forms of live interaction. This is needed both to provide engaged learning for our taught-course students, and because our public audiences expect our online-events offering to match those of other institutions, including museums’ and other organisations’ public-workshop series.

After extensive software testing, we found ways for students to join events with a second camera in order to show books and archives live. We hope to use our own visualisers to teach with our collections, even if students are logging on remotely, and to confirm with researchers and academics which features of an item need high-quality digitisation for their work. I secured access to UCL-supported software for recording videos with a half-and-half split screen, to compare, for example, a manuscript and its transcript, or two similar printed title-pages. Our exhibitions staff has started creating videos to bring our physical exhibitions to life online.

To make all of these resources, tools and events available to our students and academic partners, I secured a Moodle site for Special Collections for which we can set an access key for each group of users. That means our future suite of resources can be re-used, in different combinations and with different contextualising information, across the many modules and courses we support, saving us time. It also means we can use UCL-supported software such as Blackboard Collaborate to run live events. We’ve developed online booking and feedback forms. Finally we’ve arranged training for the whole team, and access to courses on UCL’s Connected Learning strategy.

Launching our online teaching and events programmes

All that remains now is to work with our academic partners to agree how we can support each module and academic project, and begin to prepare and trial events and resources. It has been extremely hard work, and personally I’d like to thank the Academic Support Team and the rest of our colleagues for adopting new ways of working and achieving so much so quickly.

But it’s been worthwhile when we’ve experienced how incredibly resilient our students have been. They have had to think thoughtfully and creatively about research and coursework while trying to secure flights home, changing time zones, moving back in with parents they’d hoped to move on from, finding their home city changed in the grip of the pandemic, or coping with the illness of family and loved ones.

This is a generation of students that is facing more challenges than most, so we were all the more impressed by the online exhibitions created by our BASc students (‘Attention’, for example, showcasing our Brazilian process poetry) and the overwhelming 64 applications for the Anthony Davis Book Collecting Prize  from students at universities across London.

Launching this year’s Rare-Books Club online, I have tried to programme as many student speakers as possible, before they face the challenge of job-hunting in a recession. Students and experienced researchers in the series have presented passionately on collecting Black British publishing, exploring fictitious publishers in the 17^th century, developing the terminology that 19^th-century book-bindings deserve, how our catalogue can provide context for the books of the Galton Laboratory Collection, and many other topics. We have been overwhelmed by the popularity of these sessions, with audiences reaching well over 100 at times – far greater than we could ordinarily accommodate in our physical reading room. Although chairing and moderating such large sessions online has been new and challenging for us, it has also enabled us unexpectedly to reach new audience members from Asia, Europe, the US, and Australia, and we look forward to engaging with them further in the future. We have recorded the sessions, and are rapidly learning how to caption and produce transcripts for the often specialist language used. I hope to make these publicly available as a series later in the year.

Meanwhile, here are even more ways to explore our collections from your armchair:

• Introductory video to our Rebel, React, Reform exhibition

More online exhibitions by BASc students:

• After Death, featuring Ben Jonson’s emblem book
• Search For Sacrifice, featuring our earliest manuscript in English
• Reproduction In Society, featuring Daemonologie (1624)

Further viewing, listening and reading:

• Treasures From UCL (free open-access book from UCL Press)
• Our podcast collection
• Our Digital Collections

The winner – Alexandra Plane – and six other finalists have been announced for this year’s Anthony Davis Book Collecting Prize, which aims to encourage students at an early stage of collecting physical books, manuscripts and printed material.

The competition is open to any student studying for a degree at a London-based university, and this year received a record-breaking 64 applications – the largest number in the prize’s history. Universities represented included Birkbeck, Queen Mary University of London, Goldsmiths, SOAS, King’s College London, and UCL which hosted the prize for the first time this year.

Collectors under lockdown

Despite the pandemic, students applied from wherever they found themselves during lockdown, from Norway to Texas, Bulgaria to China, Vienna to North Wales, with many applicants unexpectedly reunited with, or separated from, their collections.

The range of collection themes was similarly wide, from Singaporean debut poets to Slovakian Beat poetry, Norfolk history to a 20th-century novelist who used eight different pseudonyms, photobooks and queer manga to bilingual parallel texts and women’s genealogical health.

Finding the collectors of the future

The guidelines of the competition specify that ‘the intention is to encourage collecting and we expect that applicants’ collections will be embryonic, so their size, age and value are irrelevant. What is much more important is the enthusiasm and commitment of the collector, the interest of the theme and the vision of how the collection will be developed’. But selecting a winner from so many applicants was a challenge.

After a process of longlisting, shortlisting and interviews, the judges have chosen Alexandra Plane for ‘Books that built a zoo’: her collection of works by Gerald Durrell. Alexandra is studying for an MA in Library And Information Studies at UCL.

The other finalists were:

• Imogen Grubin for her collection of early 20th-century editions of Victorian literature
• Blake Harrison who collects material on James Joyce’s Ulysses
• Jiayue Liu for a collection of early 20th-century English Private Press editions
• Naomi Oppenheim who collects editions produced by Black British publishers in the mid 20th century
• Bori Papp for her collection of Hungarian translations of English literature illustrated by the artist Piroska Szántó
• Kit Rooney for a collection of hand-written inscriptions in books.

See the finalists present their collections online

Join us for this summer’s UCL Rare-Books Club Online, every Tuesday lunchtime, to hear the winner and finalists discuss their collections and present some of their books, starting on 14 July with Alexandra Plane, introduced by Anthony Davis.

Judges

The judges included representatives of the UK’s Antiquarian Booksellers’ Association, the UK’s Bibliographical Society, and Senate House Library who hosted the prize last year, as well as UCL Special Collections.

For the Special Collections team, it was also a great pleasure to collaborate this year with the founder of the prize, Anthony Davis, and to share his inspiring enthusiasm for books and collecting with the students. We hope many of them will continue to develop and cherish their collections long into the future.

 

 

UCL’s Special Collections contains UCL’s collection of historical, academic and culturally significant works.  It is one of the foremost university collections of manuscripts, archives and rare books in the UK. Included in its holdings is a collection of Islamıc manuscripts, Masnavi-i Akbar Sultan (“Romance of the Sultan Akbar”), (MS PERS/1), is one of the manuscripts in this collection.

The conservation of this manuscript was carried out by Fatma Aslanoglu, Project conservator 

The Masnavi-i Akbar Sultan by Mír shams al-Dín Faqír Dihlavi originally written by Jalal al-Din Muhammad Rumi (1207-1273), is a copy of part of the Mesnevi poem collection.  Written in Persian using carbon ink and Ta’liq calligraphy, the manuscript contains a poem written for Sultan Akbar in 1749.  Bound in an Islamic style using the Lacquer technique, the book came to the conservation department because the binding was very tight, causing restricted opening and making access and handling for any purpose unsafe.

 

A preliminary examination of the manuscript determined that it had undergone previous repairs, the binding was now too tight compressing the textblock preventing free opening, causing distress and damage. It was decided to rebind the manuscript thus alleviating these problems, and ensure safe access to this important collection item. It appeared that during previous repairs, the original covers were reused but the leather on the spine had been replaced. Figure 2 shows the extent to which the manuscript opened without undue force.  In addition to the problems created by the spine repair, superficial dust, separation of the text block and cover, tears, and stains were noted, along with fragility of the end leaves due to the acidity present in their paper, these conditions contributed to different but significant deteriorations in the manuscript.

The first step was removing the cover from the text block.  The leather covering of the spine consisted of two pieces of leather, one attached to the left board and one attached to the right board. This is a typical characteristic of Islamic bindings and made it easier to separate the covers from the text block.  The spine leather removal was carried out using Methylcellulose to hydrate the adhesive, allowing easy mechanical removal.

It became obvious as the removal of the binding progressed that the manuscript had not been fully disbound during the old repair. The original leather spine covering was still present under the new leather added during the repair. The sewing appeared untouched but the original primary endband sewing and endbands had been renewed.

The original leather and adhesive – probably ciris, a traditional paste made with the root of a yellow asphodel -were still preventing the manuscript from opening fully.  Using Methylcellulose, the spine was hydrated, and the residue removed.  The original spine lining, a typical characteristic of Islamic bindings, and adhesive was then removed from the text block.  After removing all the original leather adhesives and lining from the spine, the text block started to open fully.  This allowed the original sewing of the text block to be preserved.

With spine cleaning complete, the tie-down sewing and endbands added during the repair were removed.  The text block had three sewing stations, in some of the gatherings; some threads were detached or broken.  New thread was attached to the existing thread and the sewing repaired using the original sewing holes.

During the old repairs, new end papers were attached; the paper used for these is now known to be highly acidic therefore, a decision was taken to remove them from the textblock.  Fabriano paper was used to create new end leaf papers.

The original textile spine lining was not strong or wide enough to hold the text block because its width had been trimmed during the old repair.  A new textile lining was adhered to the text block with excess left along the front and back joints, for later reattachment of the boards.

Following the repair and stabilisation of the textblock spine, it was now possible to proceed with the dry cleaning of the textblock using a soft hake brush.

Paper repairs were carried out using re-moistenable Japanese tissue paper (Japico 0.02/3.8g – Using 4% (w,v) Methylcellulose).  These two processes were completed after the spine-lining repair because the spine and sewing were so sensitive to opening and closing.

Another form of paper repair undertaken was the removal of paper layers adhered to the folios from the adjacent pages.  The delaminated pieces were removed mechanically with local humidification and a spatula.  They were then reattached to their original places using 4% Methylcellulose.

The new spine lining was trimmed at the head and tail of the textblock.  An additional traditional leather core was added to the head and tail of the spine to further stabilise the structure.  The primary endbands were sewn through the spine lining.  It was decided to not re-use the endband created during the old repair.  An endband with a chevron pattern was added.

A barrier between the spine and the text block, using the hollow back method, was created using Japanese tissue and pasted with wheat starch paste (1:6).  This technique ensured that the manuscript would be able to open comfortably and therefore prevent any further damage to the gilded decorations present on all the pages.

 

After the textblock treatments, the boards were reattached to the text block.  The spine lining extensions were positioned within the original board layers using wheat starch paste.

The spine leather was then pasted onto the hollow back present on the spine with wheat starch paste. Japanese tissue appropriately toned using Schmincke acrylics was added to the inner joint, the final process carried out to complete the conservation.

Working on The Masnavi-i Akbar Sultan manuscripts was a rare occasion to work on non-Western binding structures and a first-hand learning experience under the expert guidance of Fatma, for the conservators at the Conservation Department.

For more information about this manuscript please visit the UCL Special Collections page.  (https://ucldigitalpress.co.uk/Book/Article/2/9/48/)

NOTE: Due to the COVID-19 outbreak, we are unfortunately unable to provide an image of the final state of conservation.  We will update this article with a photograph as soon as possible.

 

The retrospective cataloguing team recently embarked on a project creating records for London History Maps, ca. 300 Special Collections maps, atlases and panoramas of London and the surrounding area.

The size of some of the maps was a little problematic (see images!), and finding appropriate locations to safely examine them was difficult in the busy Science Library. With a little planning, however, we were able to schedule map cataloguing time for when the office is at its emptiest, and at times (carefully) use floor space as well as any available desk space.

Maps also require extra fields in catalogue records, such as scale and coordinates, and there are elements of vocabulary that cataloguers are not usually accustomed to using, for example identifying whether gradient is marked by hachures or bathymetry.

Thankfully, there are a number of helpful internet tools out there (such as this one to discern scale), and we discovered the “Bounding Box,” a website by Klokan Technologies, a Swiss company specialising in online map publishing. The bounding box tool gives approximate coordinates when adjusted to contain the area of the individual map. This is particularly helpful when many of the older London History maps do not operate on coordinates at all, but rather have numbered or lettered grids for reference to that map alone. Those that do, often have St. Paul’s, the centre of historic London as the meridian, not Greenwich. In fact, it was not until the 1880s that maps had any consensus as to what meridian to refer to, and many chose the centre of their respective cities/countries rather than settling on an international standard.

Finding their objective coordinates would have been a very arduous task if we had needed to relate to other maps, so the Bounding Box has been an invaluable resource to help us provide as much detail as possible. The site even helpfully provides coordinates formatted specifically for MARC cartographic fields 034 and 255.  Alongside these websites, we also shared expertise and created standard phrases for common occurrences, such as the way the maps have been cut and mounted, and cartographic detail extending beyond the neat line (border) of the map.

With the nitty gritty out of the way, we had space to focus on the content of the maps. Many are beautifully engraved and hand-coloured, with parks showing detail up to the individual tree or flowerbed and the individual docks labelled along the Thames. Some maps emphasise railways, hackney carriage routes or walking distances, some even show the network of sewers! What is most striking is how different London was, and how quickly its expansion occurred. Up to the late 19^th century, the land North of Regent’s Park dissolves into fields and farms, and South of the River is even less urbanised. Some maps even split boroughs into landowners’ estates. On a personal level, seeing UCL campus slowly emerge on the maps was particularly interesting.

The retrospective team began cataloguing London History Maps in February 2020, and almost half the collection is now online. Further map-related posts to follow when we regain access to our physical collections.