It will come as no surprise to the readers of Hand Papermaking that a symposium called "Looking at Paper: evidence and interpretation" was a fascinating experience. What could be more appealing than a program that focuses on first-hand examination of paper? Designed to include a combination lecture-workshop format, this symposium was held in Toronto at the Royal Ontario Museum and the conservation labs of the Art Gallery of Ontario. Speakers and participants included internationally known scholars and professionals whose work and research is based on the examination of paper materials. A few individuals (who eventually became the conference organizing committee) realized, nine years ago, the need for a meeting that would emphasize the examination process in the study of paper materials. Their goal, as described in the conference materials, was a program "conceived to present recent art historical and bibliographic research that focuses on the methods for examining paper-based materials and the interpretation of findings." For a long time, the strength of their conviction alone propelled the project forward. The conference eventually received the support of organizational sponsors and paper-related companies. In addition, members of the local Toronto community of paper and book professionals provided unique contributions to the event. Ultimately, though, the organizing committee, through their thoughtful planning, evident in all aspects of the symposium, insured the success of this event. The combination of research presentations, emphasizing the examination process, and hands-on sessions was very effective and provided opportunities for further discussion. The sessions on Western paper with Peter Bower and oriental papers with Akinori Okawa, while structured very differently, provided new insight into studying these materials. Given limited time and space, not all participants were able to benefit from the sessions, but they were transcribed and this information will be a valuable resource as part of the published conference proceedings, available soon. The overall caliber and diversity of the program was striking, as was the flair with which some talks were delivered. A few examples will illustrate. Bower, a paper historian and forensic paper analyst, spoke first and set the tone for the meeting. Known for his two-volume study of J. M. Turner's use of paper, published by the Tate Gallery, his truly engaging words conveyed a respect for and fascination with paper. He recounted studies of artists' uses of paper, including samples from the Turner Collections, and told stories of following the paper trail in his forensic work. His skill of acute perception has clearly developed throughout his life of working with paper. Years of making handmade paper and examining a seemingly endless supply of paper materials have contributed to his insight in looking for clues, the signs of the makers' marks in the methods and materials of sheet formation. His observations are also informed by reference to a vast array of primary resources. He uses historical and scientific treatises, arts and crafts manuals, commercial product advertisements, journals/ledgers and collections of paper ephemera, and specimen samples to find information about the original appearance, production, and use of paper materials. Analytical testing, microscopic examination, chemical evaluation, and fiber analysis are also part of his study. This process of looking at and discovering clues about the material and putting it into historical context using primary sources was a theme throughout the presentations. It also served as a reminder of how valuable collections of paper ephemera are in understanding works of art. Treatises on paper and board making, accounts of experimentation with alternative fibers, discussions of early papermaking technologies and hand production methods, and references to mill records and journal entries were the subjects of some of the other talks. John Krill, Kimberly Schenck, and Lois Olcott Price described their individual studies of particular art papers, focusing on the evidence of their use and unique characteristics. Each has developed an appreciation of these papers after extensive study. They faced in their research the problem of describing their observations, so they used original specimens, paper sample books, technical manuals, and publications on artists' materials to serve as references for documentation. Krill specifically addressed the problem of how to approach the study and description of papers and how to develop a set of questions to record and compare observations of papers from different collections over the span of many years. Judith Walsh and Marian Peck Dirda discussed the (U.S.) National Gallery of Art's Paper Sample Collection, a project undertaken in 1991 to collect samples of documented artists' papers, now encompassing more than 1,500 groups of papers. These materials have been collected and catalogued as a valuable resource for study. The Gallery has also created a computer database to compile information on the specifics of the papers' fabrication. This information will be available soon to anyone interested in the art papers of the twentieth century. The recognition of the importance of this kind of collection in authenticating works of art, developing conservation strategies, and verifying scientific analysis will provide renewed interest in the care of these resources. Paper, sometimes described as a simple substance, is infinitely variable depending on the materials and methods used to make it. This potential for subtle variation has contributed to the challenge and fascination many find in working with paper materials. The symposium and its companion publication will contribute to a renewed respect for the process of examining paper, finding the evidence inherent in the material itself, and appreciating both its simplicity and its complexity.
