With no margin marks at all within Volume 1 of the Windham papers, I was initially unclear about how to respond to Instruction 7. Reading around the notion of markings in books led to articles in celebration of marginalia, claiming that this process enables a heightened form of engagement in which the reader can collaborate with the text and mingle with the author on some primary textural plane (O’Connell, M; The Marginal Obsession with Marginalia 2012). Whilst previous readers had not engaged with the process of making marks, I had observed occasional thin strips of additional paper within the inner page margins dotted throughout the book. These presented a contrast to the printed page of text and I began to consider that these could be the margin marks which I identify in some way. I think that these strips are connected to the insertion of illustrations within the book which seemed to link to standpoint O’Connell presents in which margin marks retain something of the former owner’s presence, in this case the former owner may have made the book! In order to identify these strips of paper, I inserted sequential numbers in the top left and right page corners to highlight the quantity and positioning throughout the book and then marked up each strip in black. I contrasted these with blank white self-adhesive labels in the corners of all of the pages which contain no additional papers. Interestingly the addition of so many labels has increased the thickness of the book and produced a slight tonal change to the colouring of the page edges.
The examination of dictionary definitions and their accompanying synonyms once again framed my visual response to instruction 6. Processes of working emerged through this initial research around how to select, organise and present text decoratively to include both the voice of the author of the introduction and provide clues to the life and times of William Windham.
Some research into endpapers provided information about their placement and early methods claiming that endpapers were originally made within anything to hand including manuscript off cuts. This seemed to suggest making use of sections of the introduction in some way.
Returning to a system of colour coding established within Instruction 2 to catalogue Windham’s personal and professional life, I introduced a new colour to include the voice of the Earl of Rosebery, the introduction author and golden boy of the early 20th century. Reading through the introduction I searched for the essence of the texts – clues to the successes and failures within Windham’s life and the standpoints made by Rosebery. The process of highlighting these added decoration to the introduction and provided a starting point to build upon. These selections were copied and over-printed with scale increased through the use of the copier machine in an attempt to visualise the charm of conversation which is what Rosebery claims to be the ‘real reputation of Windham’. Decorative and non-functional text sections emerged and I considered drawing attention to punctuation markings and key phrases. A selection of words which‘survived’ the numerous copier machine overprinting are still functional, in that they can be read. These have been embellished with text removed from the introduction to add additional decorative elements exploring scale and placement.
Positioning the end papers within the book, I made use of the markings already in place so that the words wrap around the book plate, Christ Church library bar code, and date of entry to the original library collection.