THE BRITISH LIBRARY

Collection Care blog

49 posts categorized "Research"

10 August 2017

Everything you need to know about birch bark book conservation

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From sawdust to gold dust: The conservation of a 16th century birch bark book

Shelfmark: OMS/Or 13300
Curator: Pasquale Manzo
Treatment Time: 113 hrs
Estimated time: 92 hrs

Introduction:
Late 2016 a black acidic shoe box with a note was transferred to the British Library Centre for Conservation for treatment. The note was dated from 1972, reading ‘object is extremely fragile - do not touch’. Inside the shoe box was a mass of tissue, which when carefully lifted out, had thousands of tiny entangled bark fragments entwined in its fibres. Beneath the tissue was the birch bark book.

The following blog is about how the manuscript was conserved so that it could once again be safely requested and handled by the general public.

The Manuscript:
The manuscript is part of the British Library Asian and African collection. It was originally made in Kashmir, is written in Śāradā script and dates to the 16-17th century. It includes three different texts: (A) Nirṇayāmṛta by Allāḍanātha, a work in 4 chapters concerning suitable times for various Hindu religious ceremonies. (B) Narasiṃhaparicayā by Kṛṣṇdāsa son of Rāmācārya, a text on Vaiṣṇava ritual and (C) a fragment of the Padmapurāṇa.

Binding Structure:
The manuscript was formed of 10 sections, each with 8 folios to the centre. The manuscript was sewn with a thick hemp chord in an unsupported Coptic-style. The sewing had a knotted incongruous double loop centrally on the 3rd section.

Spine edge of textblock

Figure 1: Spine edge of the text block showing the 2 central sewing stations and the headband tie-downs at head and tail.

Both the head and tail had headbands, similar perhaps in style to Monastic headbands. However the cores were made of a Mahogany-type wood dowel, looped several times over with chord, then wrapped in a layer of alum-tawed skin and finally a turned-in leather flap extending up from the cover. The headbands were attached to the text block via tie-downs on each section.

Wood-core headbandFigures 2-4: Wood-core headband with alum-tawed and leather wraps secured to text block with chord tie-downs.

The manuscript was covered in thick brown goat leather with an inner parchment wrapper. The limp leather case was attached to the text block by the headband tie-downs.

Limp goat leather

Figures 5 & 6: Limp goat leather cover with parchment wrapper below.

Dimensions: (L x W x H) 190 x 189 x 70 mm

The Text block:
The text block had 231 folios, foliated 27-258. The folios were transcribed with a carbon-based ink. The media was stable. The folios themselves were made from very fine layers of bark from the outer periderm of the deciduous birch tree. The cork cells of the birch bark are compacted in radial rows according to seasonal growth, and the periderm layers were adhered together by pectin as well as physical knots and streaks.

Birch bark

Figure 7 (Left): Tree anatomy diagram showing the periderm layer of the birch tree (Wojtech 2013). Figure 8 (Right): Peeling birch bark off a birch tree to use as a substrate. Image shows inherent knots and streaks (Wojtech 2011).

Condition:
Unfit: Significant risk of damage even under controlled display conditions due to existing damage or extreme sensitivity, inherent vice.

Principal Substrate

In response to fluctuating environmental parameters, the inherently weak pectin adhesive in the birch bark had failed, causing the periderm layers to delaminate. It appeared that each folio was made up of around 7 periderm layers. Each folio was in a different state of delamination. Similarly, as a result environmental fluctuation the natural resins in the birch bark had been drawn to the surface, causing a gentle white blooming on the majority of the birch bark folios.

Changes in the birch bark’s moisture equilibrium over time had caused dimensional changes, forcing tangential curling and making the bark stiff and extremely brittle. This had resulted in each folio having significant tears extending from the foredge. Some of the folios had even degenerated into piles of fragmentary leaves. There were vertical cracks on most folios towards the spine, due to the stress induced by turning the pages.

White blooming and delamination
Figure 9 (Left): White blooming from natural resins on the surface of the birch bark. Figure 10 (Right): Delaminating periderm layers of embrittled birch bark.

Binding Condition

The leather and the parchment wrapper beneath were stiff and distorted and subsequently did not effectively cover or protect the text block. The cover was only partially attached to the text block by the headband tie-downs at the head of the spine. As such, when fully opened some of the text block spine was exposed. The sewing had broken at multiple points, however disparately the sewing structure was relatively stable. The opening angle of the manuscript had been compromised by the brittle substrate, so could open to around 60 degrees in a section or 160 degrees between the sections. Two sections at the back of the manuscript had detached and four pages were sitting loose in the back cover.

Distorted leatherFigure 11: Distorted leather no longer covers and protects the text block.

Detached tie-downsFigure 12: Showing detached tie-downs, exposed spine and broken sewing at the spine tail.

Evidence of Previous Repairs:

Previous repairs were carried out in 1972. There appeared to be a white bloom on the surface of the leather cover, suggesting the possible previous use of wax or oil based leather coatings.

Two folios, f.211 and f.212, were coated on both sides with a texacryl 13-002 adhesive (at various strengths) and nylon tissue, with Japanese paper borders. This conservation process was discontinued as the result is visually distracting (sharp contrast in tone and light refraction) and had irreversibly changed the nature of the original birch bark.

The areas of loss, of around twenty of the most fragile folios at the front of the volume, had been infilled with hand-transcribed western paper. Similarly heavy-weight cream paper repairs had also been crudely adhered to multiple folios along edge tears.

Crude paper repairsFigure 13: Showing the crude paper repairs at the foredge of multiple folios

Fragmented sectionsFigure 14: Showing the crude texacryl-adhered nylon lining on 2 birch bark folios.

Texacryl-adhered nylon lining

Figure 15: The fragmented first two sections with annotated western paper infills.

Analytical Adhesive Testing

The decision was made to identify the adhesive used to adhere the paper patch repairs and the annotated infills. This would not only provide more information about the history of the object, but would inform the treatment decision-making process.

A microsample of adhesive residue was removed from beneath the distorted and lifting paper infills. The microsample was then analysed via use of FTIR-ATR to identify and characterise the present adhesive. The results suggested the adhesive used in previous repairs was a protein-based animal glue.

Subtraction spectrumFigure 16: Image of the subtraction spectrum suggesting the adhesive residue was a protein based animal glue.

Micro-sampling locationFigure 17: Adhesive residue visible on birch bark folio. Highlighted area shows micro-sampling location.

Conservation Treatment:

The choice of treatment for any object of historical or cultural significance must reflect its artifactual value, uniqueness and the accessibility of the information it holds. It was decided a minimally interventive treatment would be carried out with the aim of preserving the original and rare binding structure, whilst stabilising the folios for digitisation.

Repair Method Selection

Due to the laminar structure of the birch bark, it was decided that traditional paper-patch repairs would not suffice, as they would only encourage the delamination of the top layer. After experimentation, it was decided that thin strips of toned Japanese tissue, woven in between the stratified layers of each folio would act as an effective repair method.

Inter-woven toned Japanese tissue repair

Figure 18 & 19: An inter-woven toned Japanese tissue repair.

Paper and Adhesive Selection

Kozo 2 Japanese tissue was selected as the repair material. It was chosen as it was semi-opaque and thus not visually obstructive; weaker than the primary substrate; and had a degree of stiffness that enabled it to be inserted and woven between bark layers. The tissue strips were adhered with a low concentration of methylcellulose (2%) in water. Methylcellulose was chosen as adhesive firstly because of its cellulosic similarity to birch bark, secondly its refractive index was similar to birch bark, and lastly it had a greater water retention capacity and flexibility than wheat starch paste.

Tears and areas of delamination repaired

Figure 20 & 21: Tears and areas of delamination were repaired and reinforced with toned Kozo 2 tissue adhered with 2% methylcellulose.

Tissue Preparation

The Kozo 2 tissue was toned using an airbrush, with dilute burnt umber and raw sienna Golden heavy body acrylic paints. The tissue was toned in a colour-range of tones so that the repairs match the multi-tonal folios. The tissue was then cut into thin strips using a scalpel. The widths of the strips varied from about 3-6 mm.

Tonal variation
Figure 22: Tonal variation of different birch bark folios.

Repair

A strip was selected, woven through the delaminated layers using tweezers, adhesive applied with a paintbrush (size 001), and the joint gently pressed into place using a cotton swab. The swab also removed any excess adhesive. The repair was then pressed gently under weights. Pressure-light weights were used due to the brittle nature of the substrate. Large areas of delaminated layers were re-adhered to their folio similarly, using a thin application of methylcellulose and gentle pressure.

Delaminated corner repairs

Figure 23-25 (Left): Applying toned Kozo 2 to delaminated corner. Centre: applying methylcellulose with a fine brush. Right: Applying gentle pressure to the join using a cotton swab.

The folios were conserved systematically, one by one, starting from the back of the volume (as these were in better condition than those at the front). Each folio took around 15-20 minutes to repair depending on the extent of its damage.

The crude previous paper repairs and the annotated infills were lifted from the birch bark using tweezers, and the dry powdery adhesive carefully scraped off the surface of the folio using a scalpel. The repair’s locations were documented prior to removal.

The four loose pages at the back of the manuscript were stripped up with Japanese tissue and adhered into the two detached sections according to their foliation. The texacryl-coated pages were trimmed to remove the Japanese paper border, and likewise stripped up and attached into these sections.

The final repairs were made to the outer spine folds of the sections. These were carefully repaired in-situ using slightly wider strips of toned tissue.

Treated folios stripped up and sewn into their section
Figure 26: The trimmed texacryl 13-002 and nylon coated folios, stripped up and sewn into their section.

Re-sewing Loose Sections

The two detached sections at the back of the volume were attached at the head-edge sewing station via Coptic chain stitch. An extra Coptic stitch was attached to the 3rd section to reinforce the attachment. The decision to not attach the section at two sewing stations was due firstly to the fragmented state of the sewing on the tail-edge station, secondly because the minimal sewing sufficed, and lastly because the purpose of the attachment was solely to prevent loss and disassociation.

Repaired spine edge of textblock
Figure 27 & 28: Showing the repaired spine edge of the text block and the three chain stitches at the head of the volume.

Cover Decisions

SC6000 leather treatment was rubbed lightly into the leather cover to reduce the white blooming.

The sewing, despite being broken, was remarkably stable post treatment, . This is perhaps because the chords were consolidated in place by the Japanese tissue repairs. The relative stability of the binding enabled the decision to not interfere with the original sewing, and to leave the binding, as well as the cover, as it was. The object post treatment was stable enough to digitise and even stable enough to be handled and viewed by researchers.

It was noted also that by leaving the leather cover attached only at the head, it facilitated the viewing of the sewing structure and spine. As the rare binding style is as much of cultural value as the textual content of the object, the fact that it was left exposed was regarded positively.

Volume post treatment
Figure 29 & 30: Showing volume post treatment with limp leather cover left in its original state.

Re-housing Fragments

Adhesive labels and condition reportsFigure 31 & 32: Showing adhesive labels and previous condition reports re-housed in Melinex sheaths.

Annotated infills and birch fragmentsFigure 33 & 34: Showing annotated infills and birch bark fragments spot-welded into Melinex sheaths.

After treatment there was varied ephemera to re-house and to keep with the object:

1. The old adhesive labels on the old box
2. The previous condition reports
3. The annotated infills
4. Three unplaceable birch bark fragments.

The old adhesive labels and the condition reports were placed in independent inert polyester Melinex © sheaths. The top edges of the sheaths were left open so the items could be removed, unfolded and read in the future.

The annotated infills and the birch bark fragments were secured in place in their independent Melinex sheaths using an ultrasonic spot-welder. Both sets of sheaths were hole-punched and secured together in the top left hand corner using an archival snap-ring.

Re-housing the Manuscript

To impede the likelihood of potentially harmful physical or environmental damage, it was decided that a custom made drop-back box would be made. It was decided that a shelved compartment would be included in the design in which to store the sheathed ephemera. A four flap wrapper was also made for the volume from Kraft paper, to further impede the potential of damage and to facilitate future handling.

Finally the shelfmark of the item was gold tooled onto the spine of the box.

Drop-back box
Figure 35 & 36: Showing Kraft paper 4 flap folder and buckram-covered drop-back box with shelf compartment.

Gold tooling

Figure 37 & 38: Gold tooling the manuscript shelfmark onto the box.

Before and After Treatment Photographs:

Before and after treatmentBefore and after treatment 2Before and after treatment 3

By Daisy Todd

Image References

Wojtech, M 2013, The Language of Bark, American Forests, article: http://www.americanforests.org/magazine/article/the-language-of-bark

Wojtech, M 2011, Getting to know bark, Northern Woodlands, article: http://northernwoodlands.org/articles/article/getting-to-know-bark

Further Reading

Agrawal, OP & Bhatia, SK 1981, Investigations for preservation of birch bark manuscripts, ICOM committee for conservation, 6th triennial meeting, Ottawa, September, pp. 21 – 25.

Batton, S 2000, Seperation Anxiety: The Conservation of a 5th Century Buddhist Gandharan Manuscript, WAAC Newsletter, Vol. 2, No.2

Florian, ML, Kronkright, DP, Norton, RE 1991, The Conservation of Artifacts Made from Plant Materials, Getty Trust Publications, Getty Conservation Institute.

Gilberg, MR 1986, Plasticization and forming of misshapen birch-bark artifacts using solvent vapours, Studies in conservation, Vol. 31, No. 4, pp. 177-184.

Gilroy, N 2008, The Stein birch-bark collection in Oxford: Thirty years of developing treatment options for our most fragile manuscripts, ICOM Committee for Conservation:15th triennial meeting, New Delhi, 22-26 September, Delhi: Allied Publishers, Vol. 1, pp. 264-269.

Suryawanshi, DG, 2000, An ancient writing material: Birch-bark and its need of conservation, Restaurator: International journal for the preservation of library and archival material, Vol. 21, No. 1, pp. 1-8.

31 January 2017

PhD placement opportunity: Textiles in the British Library

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Textiles are a numerous but perhaps unexpected part of the collections at the British Library. These intriguing and delicate items require careful storage, handling and conservation to preserve them for the future. Since the British Library’s first Textile Conservator was appointed in January 2015, hundreds of textiles have been discovered within the Library’s collections. These range from fabric covers for Torah scrolls and silk escape maps of Berlin, to a Japanese children’s book resembling a baby in a sleeping bag and Captain Cook’s book containing samples of bark cloth from the South Pacific Islands.

Textiles

This first textile-focused PhD placement presents an opportunity to gain insight into a relatively new area of the Library’s work and contribute to raising the profile of a currently less well-known part of the collections. Working alongside the Textile Conservator, Liz Rose, the placement student will be responsible for completing an internal database of textiles in the
British Library collections. This will involve working with curators across collections to view textile items, photograph them and input their details into the database using the Library’s shelfmark conventions. In addition, there will be opportunities for the student to write blog posts about newly-identified textile items for the Library’s blogs and other public platforms.

During the three-month placement (or part-time equivalent), the student will be a full member of the Conservation Team and will have the chance to assist with holding public tours and events in the conservation centre and with preparing textile items for exhibition displays or external loans. As well as developing specialist knowledge of a wide range of textiles and their conservation needs, the placement thus offers a chance to gain transferable skills in event management and public engagement.

The placement would suit PhD students with an interest in textiles from a range of disciplinary backgrounds. The main requirement is the ability to keep clear and consistent records, and strong IT skills. Training in the handling of fragile textile items, the Library’s subject-specific naming conventions, as well as an induction to the textile collections and to the wider work of
the British Library Centre for Conservation will be provided at the beginning of the placement.

View a detailed placement profile.

Application guidelines

For full application guidelines and profiles of the other placements offered under this scheme, visit the Library’s Research Collaboration webpages. The application deadline is 20 February 2017. For any queries about this placement opportunity, please contact research.development@bl.uk.

A note to interested applicants

This is an unpaid professional development opportunity, which is open to current (or very recent) PhD researchers only. To apply, you need to have the approval of your PhD supervisor and your department’s Graduate Tutor (or equivalent senior academic manager).

Our PhD placement scheme has been developed in consultation with Higher Education partners and stakeholders to provide opportunities for PhD students to develop and apply their research skills outside the university sector. Please note that the Library itself is not able to provide payment to placement students, nor can it provide costs for daily commuting or relocation to the site of the placement. Anyone applying for a placement at the Library
is expected to consult their university or Doctoral Training Partnership/Doctoral Training Centre to ascertain what funding is available to support them. The Library strongly recommends to universities that a PhD student given approval to undertake a placement is in receipt of a stipend for the duration of the placement.

24 November 2016

Applications of Image Processing Software to Archival Material

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Images of archival material are useful to both conservators for monitoring changes, and to researchers for detailed analysis and permanent access to collection items. Image processing allows historical documents and other collection items to be studied without the risk of damage to the primary source. The increase in digitisation projects is generating large volumes of image files that can be processed to enhance the understanding of our collections without physically handling fragile material.

ImageJ is a powerful public domain Java-based image processing package. The nature of open source software allows for the constant update and availability of new plugins and recordable macros designed for specific tasks. ImageJ’s built-in editor and a Java compiler allow for the development of custom acquisition, analysis and processing plugins. In April 2013 I presented a poster at the ICOM Graphics Documents Working Group Interim Meeting in Vienna, outlining the applications of image processing software to archival material . The full poster can be downloaded as a PDF here.

C-DUFFY-poster

While several improvements have been made to the functionality of ImageJ since 2013, I hope this poster provides useful information to those less familiar with image processing techniques.

ImageJ was originally designed for the purpose of medical imaging by the National Institutes for Health by Wayne Rasband, but has since found applications in many fields. It can be run on any computer with a Java 5 or later virtual machine, as an online applet or as a downloadable application (Microsoft Windows, Mac OS, Mac OSX, Linux, Sharp Zaurus PDA). ImageJ offers features similar to commercially available image processing software packages such as brightness/contrast adjustment, frequency domain filtering, binarisation and particle analysis.

Christina Duffy

25 October 2016

Research Strategy Summit - National Heritage Science Forum

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Tolbooth, Stirling - 10 November, 18.00-20.30

The National Heritage Science Forum (NHSF) is holding a Research Strategy Summit in Stirling on 10 November 2016 to discuss priorities for future heritage science research, look at emerging topics of research interest and explore potential for collaboration.

Stirling,_Tolbooth

There will be three key speakers at the summit:

- Professor Ian Simpson (University of Stirling), talking about interdisciplinary and collaborative research
- Dr David Mitchell (Historic Environment Scotland), speaking on technical and scientific research and opportunities for public engagement
- Nancy Bell (trustee of NHSF) speaking about NHSF’s ‘Filling the Gaps’ project to identify research carried out since the publication of the National Heritage Science Strategy, and the opportunities for future research.

The Summit comes at the end of a busy year which has seen us:

- Adopt a policy supporting Open Science and develop a Gold Open Access fund to underpin it
- Promote the sharing of research equipment between members through our Kit-Catalogue
- Host a public meeting on ‘Opening Up Heritage Science Research’ with Wikimedia UK and the Shadow Minister for Culture and the Digital Economy in Westminster, Chi Onwurah MP
- Give evidence to the House of Lords inquiry into the impact of Brexit on UK science
- Contribute to policy discussions with the Westminster government around the formation of the new UKRI (UK Research & Innovation) and the UK Cultural Protection Fund.

Forum members work together to share ideas and innovations, maximise the public benefit from heritage science, and speak with a coherent voice on policy and public issues. We hope you’ll join us on the 10th November both for the Summit and for the drinks reception afterwards.

Please register to attend, by 31 October 2016 using Eventbrite.

NHSF is delighted to be working with Historic Environment Scotland to hold this event.


Alastair McCapra
Chair of Trustees

26 September 2016

Fingerprints & their potential impact in relation to handling library collections

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Back in early 2016, Terry Kent, a consultant specialising in forensic fingerprint analysis, contacted British Library Conservation to learn more about how we assess the impact of handling on our collections with reference to our use (or not) of gloves in the reading room. This was pertinent timing for us since we were on the cusp of refilming and updating our videos that provide instructions to library users about handling collection items. We invited Terry to the British Library to discuss the issue with us in more depth as part of our Continuous Improvement Programme.

In June, Terry Kent gave a presentation about the potential effect of fingerprints on paper artefacts at the ICON (Institute of Conservation) Conference ‘Turn and Face the Change’ in Birmingham. Lively debate ensued. It became clear that there is some perception that the British Library has a blanket policy of no gloves - regardless. Not so, and in this blog post we would like to give brief insight, with Terry’s contribution, into how we assess and mitigate risks to collection items to enable access to and use of a vast and varied collection in a working research library (and how this then helps us form a handling policy).

British-library-reading-room-2

Humanities reading room in the British Library.

By way of background:

  • The British Library has 12 reading rooms; 11 at St Pancras, London and 1 in Boston Spa, West Yorkshire.
  • These have 1200 reader desks and accommodate 400,000 reading room visits per year.
  • Reading rooms are divided into general and special collections, and focus on different subject areas (e.g., Humanities, Maps, Rare Books & Music and Science).
  • To request items readers need to register for a reader pass and sign the conditions of use.

Given this level of use the challenge is to balance the need to make items available to users while at the same time protecting them from further degradation and potential damage in order to ensure their longevity. Collection items are assigned different reading categories, based on factors including their age, condition, and value (historical, religious, cultural, etc.) which affects how and when they can be used, for example:

  • Which reading rooms they can be read in.
  • Whether there is a digital copy (or other surrogate) which should be referred to instead.
  • Whether readers need to provide additional information about why they need particular items before they can be issued.
  • Whether or not the items can be copied.
  • Whether readers need to sit at invigilated desks when they use the items or meet other conditions of use in order to use them. 

Where readers are using original items we encourage them to handle items as little as possible and with care as we know that even with careful handling collection items face risks.

Reading Room Placemat 2

‘Handling instructions’ place mat on a desk in a reading room.

A range of different factors can damage collections and lead to loss - these are summarised in the figure below.

Of these ten categories, any risks presented by fingerprints due to sweat transfer would be covered by ‘Contamination’ (which also includes aggressive volatiles, pollutants and other damaging chemicals). Any potential risk to an item must be considered in light of a number of factors - the likelihood of it occurring, the extent and nature of damage it will cause if it does occur, the degree to which it will limit how the item can be used, and the measures that can be taken to limit or prevent it.

Risks do not exist in isolation, so responses to risks - such as the use, or not, of gloves - must be based on a comprehensive understanding of the nature of an item, its vulnerabilities and the requirements for its use by staff and readers. Furthermore, solutions to any such problems must not exacerbate other risks or introduce new ones.

Preventive Conservation

Risk factors.

Terry Kent writes,

A widely referenced paper, in the conservation field, and several forensic references, refer to fingerprint deposits consisting of 'over 98% water'. Recent analytical and theoretical studies of latent fingerprints, demonstrate that this figure is substantially in error. The deposit from a single human finger touch, whilst varying widely between individuals, is likely to contain less than 20% water and on average be about four micrograms of a mixture of amino acids, salts, primarily sodium and potassium chloride, fatty acids, squalene and many other trace compounds.

What is less well researched is the effects such deposits may have over time on substrates such as papers and textiles. We know that body soiling of fabrics will lead to yellow-brown staining, and fingerprint deposits on some papers will darken when heated (accelerated ageing using elevated temperatures); although it is unclear whether this will occur at lower temperatures over longer time periods.

There are other potentially negative effects of fingerprint deposits from a conservation standpoint; again not well researched, these include the effects of microbial or bacteriological activity on such deposits. There is also the potential of the deposit to attract and retain dust and other material from the environment.

The protective effect of hand washing, standard practice for many institutions and effective for the removal of transferred dirt, is less effective for the secretions which lead to fingerprints - it has been shown recently to be negated by natural replenishment of secretions in as little as five to ten minutes. So we need to consider the likely impact of these deposits on various substrates.

Reading Room use

Rare item being used, open access item being handled on shelf.

Conclusion

We are always looking at new evidence to challenge or support our current practices. Clearly fingerprints do have an impact on library and archive materials, although the extent of this is not yet clearly understood. The impact must be considered in light of other risks to the collection items given the context in which we work. Our policy is tailored to the requirements of individual items and the risks they face and the way they can be accessed and consulted. There is no one size fits all. Fragile, rare and significant items are subject to much tighter access and handling controls to minimise risks (including fingerprints) compared with items on open access. A core purpose of the British Library is to allow access to the national collection and our role in conservation is to manage that process as effectively and pragmatically as possible. We hope this blog post generates some thought and debate on the subject of handling and the impact of fingerprints. The collective authors plan to present their thoughts in a longer article in a future ‘ICON News’.

Cordelia Rogerson, Paul Garside, Sarah Hamlyn with thanks to Terry Kent for co-writing this post.

05 September 2016

Growing a thick skin

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Camille Thuet, Parchment Intern at the British Library, shares her experiences working at the British Library Centre for Conservation so far this year. Parchment (noun): A stiff, flat, thin material made from the prepared skin of an animal, usually a sheep or goat, and used as a durable writing surface in ancient and medieval times - Oxford dictionary

Camille opening a roll

2 February 2016 - First day

I'm very excited to start my 11 month internship here. The building is impressive and in every corner I feel like something is happening. I am very glad to be the first intern that will focus on a specialised material, in my case: vellum and parchment. The British Library is giving me a great opportunity to fill-in my knowledge and become a specialist. I am expecting to work on a broad selection of items from the collection which will present a range of conservation problems.

3 February 2016 – Meeting the team

Today I've met my two mentors, who will support me with my work: Zoe in the conservation studio and Paul for the science-based research projects. They are both passionate about their work and are keen to learn new things as much as I am. A lively and dynamic atmosphere emanates from the huge conservation studio. About 35 conservators are working there, 35 different personalities from various backgrounds. I feel this internship is going to be fascinating…

9 March 2016 - My first parchment challenge

When used as a book cover parchment needs to be flexible; the joints where cover and spine meet are repeatedly taking tension during handling. When there is material missing or weakness in this particular area, the cover is not protecting the text-block any longer and handling can create damage. The infill material must be flexible, strong, toned to match the original aged hues of the cover, and have a similar surface finish with parchment. Many tests were needed to find a Japanese paper which looks like the perfect answer.

Using a conservation pencil  Cover released and ready for treatment

Cover is going to be reattached to text block  Opening after treatment
Top left: Using a conservation pencil to release the lace-in. Top right: The cover released and ready for treatment. Bottom left: The cover about to be reattached to the text block. Bottom right: The opening after treatment.

Before treatment

After treatment

The book spine before and after treatment.

18 May 2016 - A big project!

I am thrilled to be working on a book from the 13th century. Its pages are ancient parchment and its cover is a reminder of the volume’s passage through time. Everybody can have access to this seminal text by Cicero online today but particularities of this include the handwritten margin-notes by scholars from various periods in history. The parchment text-block has survived many readers from Italy to England and is heavily damaged: losses, tears, iron gall ink corrosion, and a myriad of previous treatments but to name a few.

This book is holding mysteries: the lower part of the first twenty pages has been cut off for no obvious reason. It is not unusual for an 18th century’s restorator to collect parchment from a book to repair a more valuable parchment document, but 20 pages… really? Could this be an old mould treatment? Or, censorship of Middle-Aged notes or drawings?

Detail 20 pages cut off 

Left: Detail from a 13th century book. Right: 20 pages mysteriously cropped!

The 18th century binding only allows me to open the book 45° which makes it almost impossible to read, and future handling perilous given its actual condition. One of my tasks is to prepare the fragile book for digitisation so that we can share its mysteries with the world. I have come to the difficult yet essential decision to disband the book and I am supporting the most vulnerable areas before the imaging process by using gelatine remoistenable tissue. The Japanese paper used has been toned with airbrush-sprayed acrylics. Indeed, the result on the image must disrupt the visual appearance as little as possible so as to influence future interpretation as little as possible.

Manuscript with 45 degree opening  Disbinding the manuscript

Left: Manuscript with a 45° opening. Right: Disbinding the manuscript.

2 June 2016 – A wall of rolls

A parchment document feels always more relaxed when conserved flat but large documents which can’t fit on shelves would usually be rolled. The British Library has a large collection of scrolls and rolled documents which are in need of some bespoke storage. A tightly rolled skin becomes cockled, distorted and loses its surface coherence which causes severe repercussions on the media. Won’t it be a massive loss if all the gold sheets of an illuminated document are flaking-off? For a roll parchment, the bigger the core, the better! This means items need big cores as support and ingenious storing and boxing systems accordingly. The challenge is to marry this with the constant fight for space under Euston road!

A wall of rolls

My aims for this project are to assess the collection, prioritising heavily damaged items for conservation treatment and reorganise the collection storage conditions… not too hard then!

26 July 2016 – Half way already!

When I first stepped into the studio I wasn’t a parchment specialist. I am still not quite there, but… I am becoming confident with this complicated material by meeting specialists, attending workshops, conferences and treating a unique collection of parchment objects.

To be continued…

Camille Thuet

22 August 2016

Hidden horoscopes and puzzling predictions in Papyrus 98

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Why would certain passages from an ancient horoscope and related predictions be smudged and partially erased? This is what researchers are currently trying to determine using multi-spectral images recently captured of Papyrus 98.

Glass enclosure of Papyrus 98

Papyrus 98 (British Library Pap. XCVIII).

The British Library holds over 3000 papyri, along with several thousand unframed fragments. Western Heritage Collections cares for our Greek and Latin papyri, while papyri in other languages are found in our Asian and African Collections. The papyri collections are sequentially numbered running from Papyrus 1 – Papyrus 3136 with a separate sequence of 37 items forming the Egerton Papyri collection.

Papyrus 98 underwent multi-spectral imaging to improve legibility on some partially erased and smudged passages. Papyrus 98 is housed in a glass enclosure with inscriptions visible on both the recto and verso. The original collector was most interested in the Funeral Oration of Hyperides over Leosthenes and his comrades in the Lamian war [BC 323] which was placed in the recto position at the front of the glass frame. This partially imperfect Greek text is thought to date to the 1st century BC with the greater portion of the oration in fourteen columns. However, it has since been discovered that it is on the verso of the current housing where the oldest and first text was inscribed on the papyrus.

MSI of Papyrus 98

Above: Due to the long profile, multi-spectral imaging of Papyrus 98 was achieved by imaging the manuscript in sections and digitally stitching the images together.

On this 'verso' side is an astrological treatise consisting of three and three-quarter columns of a Greek language horoscope partially in small uncial characters similar to those of Hyperides. This is followed by an Egyptian language set of predictions relating to the horoscope written in cursive handwriting in what is referred to as 'the Old Coptic Script'. The Papyrus 98 manuscript showcases the earliest example of this Old Coptic Script.

The overall majority of the Greek text in this manuscript is in excellent condition, with the exception of the partially erased sections at the bottom of column III and IV which precede the lines in which the Egyptian language section begins. Other areas of faded or partially rubbed out sections were also identified and hoped to be recovered with multi-spectral imaging.

MSI images

Top: Infra-red image of Papyrus 98 showing uncial Greek in the left column and cursive Egyptian (Old Coptic Script) in the right column. Bottom: A composite colour ultra-violet image of Papyrus 98.

Researchers are still going through the results trying to figure out why these particular passages were erased and what was, or is, the significance of the obscured text. While the raw images have provided some clarity in certain areas, there are several algorithms which will be run on the data set to isolate and enhance the blurred regions. This is just one of many projects that our conservation team are working on to aid scholarly research and enable further access through digital means.

Colour space analysis

Left: Original image showing fragmented sections of Papyrus 98. Right: Colour space analysis showing the same region in pseudo-colour.

A small number of British Library papyri have been digitised in full and can be viewed on Digitised Manuscripts. Further information about published papyri can be found on the Trismegistos database. More about this collection item can be found on the Explore Archives and Manuscripts resource, while further information about our Greek and Latin papyri collections can be found here.

Dr Christina Duffy

 

28 April 2016

Much Ado About…Possibly Something

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Conservator Flavio Marzo reports on his fascinating findings during the conservation of one of the books bearing the presumed signature of William Shakespeare.

As it is now the 400th anniversary of the death of William Shakespeare and the British Library has unveiled a major exhibition about the Bard of Avon, I thought it was a good time to share the conservation work I carried out on one of the items currently on exhibition. In 2005 I was given the opportunity to work on an item here at the British Library bearing one of the few surviving (possible) signatures of the poet. The book, possibly part of Shakespeare’s personal library, is a copy of “The Essayes of Morall, Politike and Militaire Discourses” written by Michaell Montaigne and published in London in 1603. The volume was sent to the conservation studio to be treated before being sent out on a loan and presented some very interesting and unusual features.

The Examination

The cover and the book block were detached and the main task was to secure them together ensuring that any treatment was clearly visible and unobtrusive.

Front cover

Left: Front cover. Right: Cover and book block detached.

The sewing of the body of the book, most likely the result of a quite recent restoration campaign, was made on five narrow strips of tanned brown leather. Probably at the same time new end leaves were added and secured to the first and last sections through an over-casted stitching. There was no evidence of spine lining or glue applied to the spine. When the cover was removed the original sewing supports remained laced through the boards and the page with Shakespeare’s presumed signature was attached on the inside of the left board.

Detached cover

The inside of the detached cover with the signature page and the original supports laced with the cover.

The original sewing supports were made of strips of alum tawed leather with a second layer of tanned brown leather added to give thickness to the raised bands ensuring their visibility on the spine of the book.

Leather strips
Left (viewing from the inside): A strip of alum tawed leather with clear distortions due to the original passages of the thread of the original sewing. Right (viewing from the outside): One of the trimmed tanned leather strips used to create the raised effect on the spine cover.

Areas of the leather cover were missing at the head and tail. After a thorough examination of the cover I realised that the page bearing the signature, adhered onto the inside of the left board, was not originally attached as a paste down, and in fact was never originally placed at the beginning of the book. Careful visual examination revealed that a raised oval was showing through the page.

Signature page

An image of the page taken with raking light clearly showing an oval shaped imprint from the recto of the page.

Since the page was adhered to the board along the edges only, it was possible to insert a light sheet between the page and the board. Under transmitted light it was possible to capture an image of what became clearly identifiable as a British Museum stamp - proving that this sheet was, until quite recently, still detached. Under transmitted light it was also possible to locate and record the watermark present on this page.

Transmitted light
Left: British Museum stamp imaged with transmitted light. Right: Watermark of the page with the signature.

This watermark was subsequently compared with others found on the pages within the book block. Although no perfect match was found between the watermarks, there was a very strong similarity between them.

Watermarks
Other watermarks found within the book block.

Another detail that immediately caught my attention was the observation that the damages along the edges of this sheet did not match the losses and tears present along the edges of the first page of the book.

Damage comparison
Mapping of the stains and damages show how different and inconsistent they are along the edges of the two sheets.

Remarkably, these damaged areas matched almost perfectly to the last restored original end leaf of the book-block proving that this sheet was originally placed at the back of the book and not at the beginning.

Damage comparison
Matching damaged areas between the signature sheet and the last right end leaf.

The Repairs

The conservation of the volume involved the removal of the leather strip supports. These supports were failing and becoming brittle due to the acidic nature of the tanned leather. The strips were mechanically removed from the sewing thread passages and replaced with new linen tapes so that the book did not have to be re-sewn.

Leather strip removal
Removal of the leather strips (left) and their replacement with new linen tapes (right).

The leather of the cover was reinforced and in-filled with dyed Japanese paper and wheat starch paste.

Leather cover
Japanese paper and wheat starch paste are used because of their strength and reversibility.

A new spine lining made of light cotton fabric was adhered to the spine of the book-block to further secure the sewing. The extensions of this spine lining with the frayed linen supports were then inserted between the leather and the boards and adhered to the boards to secure the book-block back with its cover.

Secured book-block
The strips of cotton fabric are adhered between the leather cover and the boards to secure the book-block with the cover.

Conclusions

It is hard to say why this page was tampered with. Possibly it was thought that by attaching this page to the front board it would become more difficult to steal. Sometimes conservation needs some forensic skills, but it always requires great attention to detail. Physical features when correctly interpreted can tell us a lot about the history of an item. It is extremely important when repairing items of historical value that conservators are careful not to inadvertently hide or remove features which may later prove to be significant.

This work, carried out a long time ago, is today still one of my most cherished projects. I am very pleased to be able to share it with you, especially during this year so significant in the history of the Great William Shakespeare.

Flavio Marzo

See this intriguing collection item for yourself at our exhibition: Shakespeare in Ten Acts open until Tuesday 6 September.

18 January 2016

Hidden figure in Leonardo da Vinci notebook revealed

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Multispectral imaging at the British Library has revealed a figure, in previously unseen detail, on a folio of a notebook belonging to Leonardo da Vinci. Da Vinci expert Professor Martin Kemp believes the sketch may be part of a series of 'fugitive images' occasionally unearthed on da Vinci's work.

Fugitive figure

A comparison of the erasure as seen by the naked eye (left) and the revealed figure (right) after multispectral imaging.

Leonardo da Vinci (1452 – 1519) was a prolific note-taker with over 7,000 pages of his thoughts surviving today. The British Library is custodian of a notebook known as Codex Arundel 263 after its English collector Thomas Howard, 14th Earl of Arundel. These notes and sketches come from different periods in da Vinci's life, though most date to 1508, and cover a range of topics including mechanics, astronomy, optics, architecture and the flight of birds.

Codex Arundel 263 was not originally a bound volume, but was put together after his death. The variation in folio type and size show how many of da Vinci's ideas, studies and inventions were observed outdoors as he went about his day. The notes are written in Italian showcasing his famous left-handed mirror writing. Folios 137v and 136r, housed together and currently on display in the British Library Treasures Gallery, were taken for multispectral imaging analysis to enhance and potentially reveal a hidden sketch in a small area of discolouration visible in the lower half of folio 137v.

Dr Christina Duffy with Codex Arundel 263

Imaging Scientist Dr Christina Duffy with Codex Arundel 263.

The smudge measures no more than 6 x 3 cm and has been suspected by scholars to contain an elusive sketch of a figure by da Vinci - possibly erased by himself.

Folio 136r and 137v

Codex Arundel 263 folio 136r and 137v showing notes, calculations and diagrams including a mechanical organ and timpani/drums.

The analysis took place at the British Library Centre for Conservation where high resolution images of the folios and region of interest were captured. Multispectral imaging is one of the many tools our Conservation Science team use to non-invasively and non-destructively increase the body of knowledge on collection items for scholars, curators and conservators. The da Vinci sketch was placed underneath the monochrome sensor camera and exposed to light of various wavelengths ranging from the ultraviolet at 365 nm to the near infrared at 1050 nm.

Multispectral Imaging at the British Library

The Multispectral Imaging system is based in the British Library Centre for Conservation. 

These wavelengths reside on what is known as the Electromagnetic Spectrum - a wide spectrum encompassing radio and X-rays. The human eye can only detect light within the visible region of this spectrum limiting our ability to see potentially faded or invisible information. Multispectral imaging therefore enables the capture of detail which we cannot see with the naked eye.

The British Library imaging system acquired multiple images of the folio at several different wavelengths from the ultraviolet to the near-infrared.

Filters placed underneath the camera's lens were also used in combination with the lights to capture images of fluorescence resulting in the generation of vivid images highlighting the fugitive figure on folio 137v. The images raise fascinating questions about why the figure was drawn here, and why great efforts were made to erase it.

UVCompositeR15G17B19

This pseudcolour image was generated by combining three monochrome multispectral images captured using ultraviolet light with a red, green and blue filter respectively.

Multispectral imaging is an incredibly exciting process and has revealed many secrets from our collections to date, including recovering once thought lost text from the 'Burnt Magna Carta' last year. It is an incredible privilege to work with some of the world's most valued treasures and subject experts. Everyday brings new discoveries to light (quite literally!) and the prospect of unlocking more secrets from the British Library's vast and varied collections is thrilling.

The da Vinci folio can be viewed for free in the Treasures Gallery until the end of March. The entire notebook has been digitised and is available to view online.

Dr Christina Duffy (@DuffyChristina)

 

21 October 2015

Parchment Internship at the British Library

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Intern, Parchment Research & Conservation, British Library
British Library job reference 00476
11 month Internship, 36 hours a week (full time), London

The British Library is pleased to offer a funded Internship, concentrating on parchment research and conservation. The internship is funded by the Clothworkers Foundation. The internship will run between November 2015 and October 2016. This opportunity is available to conservators who have graduated in the last 2 years, have limited work experience in conservation, and who wish to develop their research and practical, hands-on conservation skills. The successful candidates will have a book or paper conservation qualification(s) (an MA in conservation would be desirable).

The internship has a bursary of £19,000 with a £2,000 bursary for training and associated travel costs. The bursary will be paid on a monthly basis (subject to tax and NI). The internships are open to those who have the right to live and work in the UK.

Parchment under raking light

Parchment under raking light (Add MS 33597)

The intern will spend approximately half their time working on one or two parchment research projects, supervised by a Conservation Scientist. The projects will be agreed and defined with the aim of practical outcomes for parchment assessments or treatments. The remaining half of the internship will involve developing and implementing a range of treatment options for individual items or a small collection of items. This may include remedial treatment, collection surveys and environmental monitoring. Treatment reports will be written at the end of each treatment project. Projects will be based on material that has been scheduled into the 2015 –16 work programme.

The intern will be expected to use a project management framework and monitor their progress against their work plan. At the end of the internship, the intern will give a presentation of the work completed. Please note that the intern will be supervised by a British Library Scientist and a conservator throughout their internship and work will be monitored on a regular basis. British Library Conservation has some suggestions for parchment research projects and additional ideas are welcomed.

Parchment scroll

A parchment scroll (Add MS 32006)

Please apply online via the British Library website: http://www.bl.uk/careers/index.html

In addition to the application form online, you also need to provide two or three examples of treatment records from your portfolio for items you have worked on. This evidence only must be emailed separately to Cordelia.Rogerson@bl.uk by the vacancy closing date. Include your name and the vacancy reference number in the email (00476).

Closing date 8 November 2015. Please note that applications received after this date will not be considered. Interviews will be held the week commencing 23 November and 30 November.

Dr Cordelia Rogerson
Head of Conservation