A while ago I posted a few of Harry Cory Wright's photographs from The Library of Trinity College Dublin, his pocket-sized portrait of that breathtaking building. Since then Typepad seems to have changed their settings and pictures here are appearing far less sharp than they should be, so I won't attempt to add to that gallery today, but I shall commend the book for its evocative images of age and venerability, learning and scholarship, craftsmanship and continuity.
In her introduction, Librarian and College Archivist Helen Shenton recalls her first impressions of the place:
"I first stepped onto the balcony of the Long Room - frequently described as 'the most beautiful room in Ireland', and often called 'the most magnificent library in the world' - early one summer morning as the soft, dust-speckled sunbeams radiated diagonally across the room. Cleric and historian Gerald of Wales (1146-1223) described the Book of Kildare (an early medieval Gospel manuscript - now lost - that is believed to have been similar to our Book of Kells) as 'the result of the work, not of men, but of angels'. On my first visit to the Long Room, it felt as if such ethereal beings might gently float down the early morning shafts of sunlight [...] Looking down at the 200,000 volumes in the handsome, dark, oak bookcases in the soft morning light, I was profoundly moved by the beauty, the stillness, the history, the accumulation of knowledge..."
Helen goes on to talk about visitors' reactions, from the tear in the eye, the expressions of awe, the lowering of voices, and the many comments, especially from younger people, on the books' scent - "the sweet note is attributable to furfural," she says, "the smell from ageing cellulose in paper; it is similar to the smell of almonds, which contain the same chemical."
A working, living library still, it has featured in films such as Educating Rita, and The Professor and the Madman, and was George Lucas's inspiration for the Jedi Archive in Star Wars: Episode 2, but its atmosphere - though magnificently conveyed by Harry Cory Wright's pictures - is best sensed in person:
"At night, or in the depths of one of those dark, dour November afternoons in Dublin when all colour seems to have drained from the world, the Long Room is as moving as it is in the soft light of early morning. When all the people have gone and the doors are closed, the eye is drawn through the gloaming, along the lines of busts, to the 'darkness visible' and to the palpable sense of the infinite."