Collection Care blog

Paul Garside & Zoë Miller

Iron gall ink (IGI) will be familiar to most of us as the characteristic brown ink that we associate with the authenticity and softly aged aesthetic of historic documents.  It is the most important writing and drawing ink in Western culture, initially emerging in the first centuries AD and continuing in widespread use until the 20^th century.  Many thousands of examples of its use on both parchment and paper can be found in the British Library’s historic collections, ranging from Treasures and other important items, such as the Codex Sinaiticus, the Lindisfarne Gospels, Magna Carta, manuscripts penned by Henry VIII and the works of famous diarists such as John Evelyn, to more commonplace letters, notes, musical scores and records. And IGI documents will form a vital part of our forthcoming exhibition ‘Elizabeth and Mary: Royal Cousins, Rival Queens’ .

[Figure 1] An example of IGI on paper (Walpole Papers 73898).

However, IGI may damage the surface on which it is written, and paper is at particular risk, leading to characteristic haloing, fragility, fracturing and areas of loss. It has been estimated that up to 80% of European archives contain items at significant risk of this problem. The potential to cause damage has been known for a long time: in 1765 the English chemist William Lewis published a treatise on the stability of IGI, and over one hundred years ago the Vatican Library warned about the impending destruction of many precious manuscripts from the effect.  However, the ink remained popular, not least for its durability and permanence (it adheres firmly to the substrate, and resists rubbing and washing, unlike carbon inks), but also because it was easy and cheap to make, using a wide variety of historic recipes.  Most recipes are based around four principal components: gallic acid, derived from oak galls; iron(II) sulphate (often referred to as green vitriol); water or an aqueous medium; and a binding agent, such as gum Arabic.  When these ingredients are mixed, the acid and the iron sulphate react together then oxidise to form iron(III) gallate, which is strongly coloured; the ink is typically a dark slate grey when first formed, turning brown or orange as it ages.

[Figure 2] The effects of IGI corrosion.

Why does this ink cause damage? There are two main, interlinked processes. Sulphuric acid is a by-product of the reaction which creates the ink, and this can lead to hydrolysis of the cellulose that forms the building blocks of paper. Excess iron(II) ions, from the initial ingredients, can also speed up the oxidative degradation of cellulose. In conjunction, these two effects are often referred to as IGI corrosion, and in extreme cases inked lines can actually crack and drop out of the paper surface. We have found that imbalanced recipes and impure ingredients can complicate the aging process and damaging properties of these inks, resulting in wide visual differences. The Instituut Collectie Nederland (ICN) has developed a four level system to categorise the damage caused by IGI , from 1 to 4 ('good' to 'very poor' condition), as shown in these examples from the BL's collection:

[Figure 3] The condition of IGI on paper: 1 (good condition - no/light discoluration and stable to handle); 2 (fair condition - dark discolouration around ink, with no immediate mechanical damage, but this could result from handling); 3 (poor condition - some mechanical damage around ink, and handling is likely to cause more damage); 4 (very poor condition - serious loss of substance, which will be exacerbated by handling).

Historically, treatments for paper documents suffering from IGI corrosion were much more invasive than would now be considered acceptable, including processes such as lamination, simmering or aggressive de-acidification.  Greater understanding of the material and developments in conservation science have allowed a more tailored, less invasive range of options. For some documents, aqueous treatments will be the most appropriate choice: the items are immersed in a calcium phytate solution, to bind and isolate damaging iron(II) ions, accompanied by gentle de-acidification, to remove existing acids and provide an alkaline reserve.  For other documents, low moisture repairs (using gelatine adhesive, which resists IGI attack as well as providing mechanical stabilisation) or the more conventional support of physical damage will be better choices.  The following chart gives an overview of our thought-processes when considering the best approach; we developed it to help visualise the process and explain our decision-making to colleagues.  As can be seen, we would consider a wide range of factors, including:

• The state of the IGI and the damage it has caused, assessed using the ICN categorisation.
• The overall condition of the item, taking into account any signs of damage to its composition or structure, the presence of vulnerable components such as water-sensitive materials, and its general stability and ease of handling.
• Our 'risk appetite' for the item.  This represents our willingness to accept risks when treating the object, and is related to factors such as cultural value, historic significance and rarity. This would obviously be very low for Treasures items, but even with objects assigned a higher risk appetite, we would not act recklessly or without planning – we may, however, be willing to consider more interventive or extensive treatments to enable the item to be more widely accessed.

[Figure 4] Decision-making for the treatment of IGI on paper.

This scheme is not prescriptive, however, and each object would be assessed and treated on its own merits. Furthermore, sometimes the best conservation decision is to carry out no treatment at all, and in all cases our work is underpinned by good preventive conservation, in the form of appropriate storage, suitable environmental conditions and sympathetic handling.

[Figure 5] Aqueous treatment of poor condition IGI on paper, in the BL’s conservation studio.

Many thanks to the Thriplow Charitable Trust for supporting this research.

Amy Baldwin, Book Conservator & Jessica Pollard, Digitisation Conservator

In April and May 2019 we had the pleasure of welcoming two members of staff from the Palestinian Museum, Baha Jubeh, Conservation Manager and Bara Bawatneh, Conservator, to the British Library as part of a collaborative Conservation for Digitisation project funded by the Cultural Protection Fund administered by the British Council. Over a six week period we carried out training in conservation methods specifically for digitisation to assist in the successful completion of the project, the aims of which were:

1. To establish the first paper-based conservation studio in the West Bank
2. Training and capacity building for staff from the Palestinian Museum
3. Conservation and Preservation of 3000 paper-based endangered collection items
4. Education and advocacy activities

[Picture 1: Welcoming Baha and Bara to the British Library Centre for Conservation. Left to right Baha Jubeh, Roly Keating, Bara Bawatneh, Amy Baldwin, Jessica Pollard, Cecile Communal]

The relatively short time period but large amount of information to cover meant an intensive and busy six weeks were spent in the conservation studios. Our priority was to equip them with the necessary skills to complete the project while keeping intervention to a minimum, and although we had to be realistic with the timescale we also needed to be flexible to adapt to their specific needs. The training schedule included, but was not limited to, an introduction to paper conservation; the practicalities of setting up a conservation studio; mould identification and remediation; and developing an understanding of the end-to-end digitisation process.  Time spent with colleagues from imaging and curatorial departments, as well as trips to Windsor Castle and The National Archives conservation studios, complemented this practical training and gave further insight into the complexities of digitisation projects.

[Picture 2: Bara carrying out repairs to a manuscript]

[Picture 3: Bara and Baha being introduced to a selection of Arabic collection items by curator Daniel Lowe and head of Asian and African Collections Luisa Mengoni]

We made a return visit to the Palestinian Museum in Birzeit, Ramallah in June 2019. The Museum is housed in a stunning award-winning building surrounded by gardens which illustrate the history of agriculture and plants in Palestine, and the paper conservation studio is the first of its kind on the West Bank. At the time of our visit the conservation focus was on the Museum’s Digital Archive project, which digitised thousands of paper items from endangered collections belonging to small institutions and private individuals. These items were loaned to the Museum for the duration of the digitisation process. Many had been kept in private homes for many years, and the condition varied from a light layer of surface dirt to large tears and water damage.

[Picture 4: Piecing together a damaged item]

Three volunteers had been recruited to assist with the project, and we were able to collaborate with the Museum’s conservator in providing training for them. We only had four days together, so we had to ensure that the volunteers’ skills were utilised effectively, and we knew that the time available for them to practice their new skills before starting work on loan items would be very short. With this in mind, the volunteers’ training focused on surface cleaning, flattening and simpler paper repairs. This left the Museum’s conservator to concentrate on items with more complex damage, including photographs, which require different treatment to other paper-based items.

[Picture 5: Discussing treatment options of a rolled item damaged by mould]

[Picture 6: Assessment of items prior to digitisation with Bara and the three volunteers]

The final phase of the project took place in late 2020. Its focus was on those items that were classified as badly damaged and had so far been left untreated, the majority of which were bound manuscripts. Further training was required to assist in completing the treatment of these item, however the global pandemic put a stop to any hope of providing UK based in-person training so we turned our attention to what could reasonably and safely be taught virtually. The original training sessions, largely focusing on wet treatments and simple book repair methods, had to be adapted with a new emphasis on handling and imaging fragile manuscripts safely with limited conservation intervention. Using a mixture of online presentations, pre-recorded demonstration videos and digital handouts we provided training in the following: handling fragile items for digitisation; consolidation and repair of mould-damaged paper; health and safety for conservation; an introduction to book structures; separating pages adhered together; and mould remediation. With no previous experience of carrying out virtual training it was a steep learning curve, especially filming and editing our own videos, and although we had to adapt our initial training proposal and scale-down our expectations, we were incredibly pleased to be able provide training during a difficult period and assist in the completion of a complicated project, which was only made possible due to the enthusiasm, skill and determination of those at the Palestinian Museum.

[Picture 7: During filming of a pre-recorded training video for the consolidation of paper]

[Picture 8: A still from a training video showing the separation of pages adhered together due to mould damage]

Paulina Kralka and Marya Muzart

The Lotus Sutra Manuscripts Digitisation Project at The British Library, is a multi-year project aiming to conserve and digitise almost 800 copies of the Lotus Sutra scrolls in Chinese, with a view to make images and information freely accessible on the International Dunhuang Project (IDP) website. These manuscripts come from a small cave in a Buddhist Cave complex near Dunhuang, in Northwest China, where tens of thousands of documents, paintings and artefacts dating from the late 4th to the beginning of the 11th centuries were discovered in 1900. Out of the 800 manuscripts included in this project, a large portion of them need conservation work.

Depending on the scrolls’ condition, treatment can range from surface cleaning and minor repairs, to lengthy mould remediation and intricate infills to ensure that they are safe for digitisation. With manuscripts in varying states of preservation and size, ranging from 10 centimetres to almost 14 meters in length, they have very different housing needs. Addressing these various housing requirements is part of our conservation work. We take into account our existing storage facilities, and come up with solutions that are best suited for long-term preservation of the collection but are also feasible within the time and budget of a digitisation project. This poses an interesting challenge to us as conservators.

Picture 1: Our storage.

Picture 2: Close-up of the pigeon holes where the scrolls are stored.

The majority of scrolls that arrive in our conservation studio have never been treated before. They are usually tightly rolled on their own or around a thin wooden roller attached to the last panel. This causes tensions and leaves the scroll unsupported where it then becomes prone to distortions, creasing and further mechanical damage when handled. Research and practice show that the larger the rolling diameter, the less likely the scroll is to develop creases and cracks. In order to address this, we always place the scrolls on increased diameter cores after treatment has been completed. These cores are made from acid free cardboard tubes with a 5.5cm diameter, that we cover with a layer of xuan paper 宣纸 using wheat starch paste as an adhesive. The cores help reduce the tensions caused by a scroll being rolled too tightly and also provide it with proper support during handling and storage, minimising the risk of further damage. In addition, each scroll is wrapped in a protective layer of xuan paper, which prevents dust accumulation and surface abrasion.

Picture 3: A scroll being handled with the help of a core.

When rolled onto the 5.5cm cores, some of the longer scrolls in the project (typically those over 10 metres long) no longer fit into the pigeon holes of our existing storage. In order to enable the scrolls to still be stored in the existing storage facilities on an increased diameter core, whilst having enough space for safe handling, we have successfully developed a technique of hand-making cores with a smaller diameter of 3.5cm, composed of archival grade kraft paper and wheat starch paste.

Picture 4: Left, the 5.5cm core and right, the 3.5cm core which we hand-make for very long scrolls.

And what about the shortest surviving fragments? They are usually severely damaged. To prevent possible dissociation and further weakening of the paper, we encapsulate them in Melinex pockets. Melinex is an archival grade, glass-clear, thin polyester sheet, which not only helps us protect such delicate fragments but also allows them to be stored flat within custom made folders. Scroll fragments in Melinex are safe and easy to handle as both sides can be easily accessed, whether by our imaging staff during digitisation, or researchers wishing to examine the manuscripts in the reading rooms.

Picture 5:  Encapsulation of a scroll fragment in Melinex.

We are lucky that a large number of scrolls in our collection survive with their original wooden rollers still in place. In order to house the rod safely, whilst simultaneously providing appropriate support for the scroll, we have modified our standard core to create a custom-made clamp which fits the original roller inside and increases the rolling diameter. The cardboard core is cut in half; an intricate system of Japanese paper tabs is then pasted down to allow it to open and close smoothly; and, finally, a small groove is cut out to facilitate accommodating the scroll and rolling it onto the core. This clasp core design is adapted from the traditional Japanese wooden roller clamp, known as futomaki 太巻 or futomaki jiku 太卷轴, used for hanging scrolls, but is much more lightweight and economical!

Pictures 6, 7 & 8: The clasp core design, which safely houses scrolls with the original rods still attached.

In some instances, the original wooden rod is detached from the scroll, which creates another storage challenge. To avoid any dissociation, we always aim to store the rod together with the scroll. In order to achieve this, we have created small foam inserts that fit the roller in them and placed them inside standard cores. We found that polyethylene pipe insulation tubes are well-fitted for the purpose! Thanks to the Oddy tests carried by our conservation scientist Paul Garside, we know they can be safely used with our collection. The tube is cut in half and hinged on one side with Filmoplast SH cotton tape to allow for smooth opening and closing. The rod, wrapped in a protective layer of xuan paper, is placed inside and secured in place with pieces of cotton tying tape, threaded through small slits cut in the tube. The insert fits inside the core quite snugly, so we place a small tab on the bottom of the tube to facilitate access.

Pictures 9, 10, 11 & 12: The foam tube which houses the detached original rod with the scroll. 

These storage solutions show how our work doesn’t end in the conservation studio. To ensure that the collection is well-preserved for future generations, we have to think beyond just the treatment of the object. This project has enabled us to challenge ourselves in thinking outside the box and approach the various storage issues with innovative solutions. 

Marya Muzart, Digitisation Conservator, International Dunhuang Project

Picture 1: Close up of digitised scroll after treatment.

The Lotus Sutra Manuscripts Digitisation Project at The British Library, is a multi-year project aiming to conserve and digitise almost 800 copies of the Lotus Sutra scrolls in Chinese, with a view to make images and information freely accessible on the International Dunhuang Project (IDP) website. These manuscripts come from a small cave in a Buddhist Cave complex near Dunhuang, in Northwest China, where tens of thousands of documents, paintings and artefacts dating from the late 4th to the beginning of the 11th centuries were discovered in 1900. Out of the 800 manuscripts included in this project, a large portion of them need conservation work. This blog post covers the treatment of Or.8210/S.3796 which measures over 10 metres long.  

What is particularly striking about this item is the blue cover or protective flap at the beginning. Whilst it bears a few stains from water damage, the colour is incredibly vivid considering the age of the item. It is unusual in this project to see scrolls which are 100% complete, from the front cover to the very last panel, so having the front cover present, in addition to its striking colour, makes this item quite special. In addition, part of the thin wooden stave on the cover is still present, a silk tie would once have been attached to this, however it is now gone. 

The use of blue paper (typically dyed using indigo) for sutras grew in popularity in China from the Tang dynasty (618–907 CE) onwards, it flourished in Korea and Japan around the same time and can also be found in other cultural traditions beyond East Asia. By the end of the Dunhuang period, and in later Chinese tradition it became common to use silver or gold ink on dark blue paper for the finest manuscripts [1]. See this fragment of scroll Or.8210/S.5720, which is part of our wider collection, as an example. 

Re-use and recycling of paper was a common practice carried out by the monks in Dunhuang [2]. It is possible that the cover of Or.8210/S.3796 was sourced from some left-over paper which had previously been used for one of the finer sutras written on blue paper. 

Picture 2: Recto before treatment.

Picture 3: Verso Before Treatment.

The losses which you can see in the before images were a result of historical rodent damage, when the scroll was examined closely small teeth marks could be seen. As the damage occurred when the scroll was rolled, there is a repetitive nature to the losses which get smaller as we move away from the beginning of the scroll. Due to the presence of these numerous large losses conservation treatment had to be carried out in order to stabilise the scroll for digitisation.  

The first step to treatment was creating a blue repair paper to match the cover. At the IDP conservation studio our usual repair papers are hand dyed in relatively large batches using fabric dye, this is so that we always have lots of different tones and colours at hand. However as blue isn’t a typical colour we come across in this project, some experimentation had to be carried out in order to get the correct blue shade for the repair paper.  Dyeing was tried at first using the usual fabric dye, however the right blue hue still wasn’t accomplished after a few attempts, so I decided to tone the paper using a diluted acrylic paint instead, which was more successful and efficient. 

Picture 4: Some repair paper samples from experimentation.

Finding the correct colour when custom toning repair paper is typically a matter of trial and error. Once I had found the correct combination of colours, I used a Japanese paper which had previously been dyed a yellow tone and this created the perfect base for applying the diluted blue acrylic wash. As the verso of the cover is lighter, once dry, the blue repair paper was then lined onto a lighter, yellow toned paper using diluted wheat starch paste. My custom toned repair paper was then used to infill the losses present on the cover of the scroll. For the remaining losses throughout the scroll, a yellow toned paper was used, this was a much easier source out of our existing repair paper collection!  

As you can see from the after images, the scroll can now safely be handled and digitised by trained internal staff. It is a unique item in the project, which was a pleasure to work on. All in all, a successful treatment! 

The digitised scroll is available to be viewed via this link thanks to Jon Nicholls.

Picture 5: Closeup after treatment.

Picture 6: Scroll after treatment.

[1]  https://www.bl.uk/collection-items/chinese-buddhist-sutra-on-indigo-dyed-paper 

[2]   Rong, X. (2013) . Eighteen Lectures On Dunhuang. Trans. by Galambos, I. Boston: Brill, p.123 

Alexa McNaught-Reynolds, Conservation Exhibition and Loan Manager

Two of the items selected for display in our exhibition: Unfinished Business: The Fight for Women’s Rights appear to be in good condition but have vulnerabilities that may not be immediately obvious. In Conservation we strive to understand every component of an object in order to recommend the best course of action for their long-term care.

Item 1. NEWS.REG170: Daily Mirror front cover: Tuesday 28^th March 2017

Vulnerability: newspaper is not made to last

This is an important item in the exhibition, highlighting how strong working women are still sometimes represented in the media today. Newspapers are produced from poor quality wood pulp that is inherently unstable due to something called lignin, and they are not made to last. Lignin makes the paper acidic and when placed in direct sunlight, as many of you will have seen, newspapers turn yellow and become brittle very quickly.

Figure 1: Controversial front page of the Daily Mirror on Tuesday 28^th March 2017 (NEWS.REG170)

We strive to protect our newspaper collection by storing them in alkaline buffered material, in a stable environment free from exposure to light sources. These actions significantly slow the degradation process.

But what about when one is requested for exhibition? While we are familiar with the vulnerabilities of newspaper generally, we are not sure how stable the media will be under exhibition conditions. The exhibition environment is very stable and the newspaper is subjected to low levels of light. While light level is low, with no UV, and the time is restricted, we are not sure how much of an effect this limited light exposure will have on the media.

In order to get a better understanding of how the media will fair under exhibition conditions, we will be monitoring this item closely. To do this, we are measuring the colour by using simple colorimetry. This is completed with 'Lab*' colour measurements which is a method of representing colour using numerical values, in a similar way to the more familiar RGB or CMYK systems. One of the particular advantages of the Lab* system is that it is based on the way in which the human eye and brain observe colours and determine differences between colours. 'L' represents lightness, from 0 (pure black) to 100 (pure white), while 'a' measures the green-red axis (negative values are green and positive values, red) and 'b' measures the blue-yellow axis (negative values are blue and positive values, yellow). The system is capable of detecting colour changes smaller than the human eye can observe, and so gives us another tool to help us provide the best possible stewardship for the items in our collection.

Figure 2: Front page of the Daily Mirror with areas marked in yellow indicating where colour measurements were taken.

Highlighted in the image above are the areas where the colours were measured. The same areas will be re-measured at the end of the exhibition. This will detect any colour changes that have happened (hopefully none) and will inform the future display limitations of this item and for other similar contemporary newspapers.

Item 2. Add MS 88899/6/13:  Greenham fence wire from the Angela Carter archive

Vulnerability: highlighter ink loses colour under light exposure

This item is a piece of wire cut from the perimeter fence of RAF Greenham Common Airbase during anti-nuclear protests by the Women's Peace Camp and sent to the novelist Angela Carter who was against nuclear weapons. It was attached to a record card through two punched holes in the centre with typed notes above and below the wire.

Figure 3: Add MS 88899/6/13:  Greenham fence wire from the Angela Carter archive with highlighted typed message.

Although the item itself is in good condition, highlighter pen was used over the top of the typed message. Highlighter pens contain fluorescent colours which are notoriously light sensitive; they will not retain their colour over extended periods of light exposure. For this reason, we will be displaying this item at our exhibition under low light levels but we will also be limiting future display in order to preserve the bright colour.

At the British Library we aim to make everything as accessible as possible so that everyone can enjoy the collection and see the items in their original condition. However, in order to preserve the collection some items do need to be restricted for various reasons, such as fragile condition, or in these cases, to limit their light exposure and preserve the bright colours for future researchers to see.  Although this means that some items can only be able to be exhibited for short periods, there are alternative solutions for display. For items that were mass produced or have multiple copies, it is possible that a replacement can be found. When an item is unique or other copies are not available, we can suggest a high-quality facsimile be made, this way the viewer can see the uninterrupted exhibition story. In this way, we can maintain the integrity of our collection for as long as possible, as well as finding ways for everyone to enjoy it in the meantime.

Fortunately, both original items will be displayed in ‘Unfinished Business: The Fight for women’s Rights’.

Samantha Cawson, Digitisation Conservator

The conservation profession takes skills sharing seriously and so the need to open up channels of communication is essential. This is especially true of The British Library’s Centre for Conservation (BLCC), which has collaborated with institutions all over the world, most recently with China and Palestine. But locally, the BLCC has Deaf members of staff and runs a very popular programme of British Sign Language and audio descriptive tours.  These tours are a great way for our visitors to enjoy our collection items and to get an understanding of the work that goes into preserving them; providing a unique opportunity to ask questions and to sometimes handle conservation tools and materials.

Before

Back in February we invited VocalEyes to the BLCC to run a two-day audio description training workshop in order for our tour guides to gain greater self-confidence and to really perfect their presenting skills for our blind and partially sighted (BPSP) visitors. The training was excellent, and covered topics such as visual awareness training, guiding techniques, guide dog etiquette, and an introduction to Description.

One of the practical exercises was to consider some of the challenges that arise when describing spaces, objects and techniques.  We gave individual presentations to the rest of the group who listened with their eyes closed, exploring terms and vocabulary to get a better sense of how the Tours and BLCC experiences might be received.  This brought up some interesting findings. The first was that it isn’t always obvious what something is just by naming it. This was the case when I began talking about my trusty Teflon bone-folder (pictured and described below). I began by describing the material and size, however didn’t clarify why it was called a bone-folder, which to someone who has never seen or used one, the name itself sounds rather gruesome. It was suggested that this tool required further explanation; for some practical items description becomes easier to comprehend if you include what it is used for, how it works and perhaps a little historical context…something I’ll take into account next time!

Figure 1: This is my Teflon bone folder. I use it to flatten my repairs as it doesn’t burnish or stick to my repair tissue. Original bone folders would’ve been made using cattle bone, hence the name, and is used by bookbinders and conservators for making strong sharp creases in paper. Both styles are used within the studio today and are considered a must have tool. You see, not so grim with a little additional information!

Another interesting topic discussed is how to describe colour. Some blind or partially sighted people are born with some sight, and will retain some memory of colour. Many will be able to see colours and shapes; some will have central or peripheral vision. Even those who were born blind are likely to understand the cultural significance of colour, and so during our training we were encouraged to embrace it within our descriptions, as well as to use a vivid, varied and memorable vocabulary in general. For instance, red may signify passion, richness or heat. Green might indicate freshness, jealousy or decay. This topic made me rather nervous at first, however over time I’ve enjoyed the challenge of creating interesting colour descriptions, which can really bring an object to life. I’m now excited to try and describe the pigments and pages of the library’s collection, some of which are still so vivid and exciting even after hundreds of years!  I’ve included a photograph of a particularly colourful illuminated manuscript which was part of the Pre-1200 digitisation project. How would you describe the colours? They remind me of a bag of mouth-watering sweets!

Figure 2: Add MS 46487 Digitised as part of the Pre-1200 project.

Another area of the training that I was looking forward to was identifying objects which could be handled and passed around the tour group, allowing someone to get a better understanding of the weight, texture and shape of something being discussed. We explored a variety of different possibilities that could be utilised. Here are a few examples:

Japanese Repair Tissues

Japanese repair tissue comes in many different weights and textures, which a conservator will choose accordingly to be as sympathetic to the original weight and look of the damage area being treated. Over the years I have accumulated a scrap box full of tissue. In the future I hope it will be a great resource to pass around a group, whilst explaining why and how we use them!

Figure 3: My box of scrap pieces of Japanese tissue.

Figure 4: You can just about feel the texture of this very fine kozo tissue!

Finishing Tools

Another great example presented itself during a gold tooling demonstration. This experience not only has the benefit of visitors being able to hold and feel the weight and shape of a finishing tool (and we have so many exquisite examples of them!) but also provides the smells of tools being heated, and the great sizzling sound that identifies when the tool is hot enough to be used. This made for an excellent multi-sensory experience.

Figure 5: A finishing tool (not heated!).

Binding Examples

And of course a British Library conservation tour wouldn’t be complete without describing different binding styles. We have various binding examples specifically made to present the different sewing techniques, supports and materials utilised when creating a book. It’s a great resource to pass around a group as the ridges and materials of the sewing structure can be easily felt and identified; A great tool for most tours, and a way to appreciate the behind the scenes structure of a book. 

Figure 6: A binding with examples of sewing on a variety of tapes and cords that could be used to construct a volume.

On the whole this workshop was a great learning experience. It provided us with new knowledge and confidence, and a greater sense of understanding of how important our presentation skills are to perform a coherent and pleasurable experience for all. But honestly, this course taught me how to describe and achieve the ‘WOW factor’ when bringing to life our beautiful and interesting collections, as well as giving a sense of the passion and expertise that the staff have at the BLCC.

After

One effect of the Covid19 lockdown has been the increased awareness of how important communication is to our well-being. For me and others this has been an interesting and sometimes creative process, as well as highlighting how communication needs to be responsive and inclusive. Having just completed the VocalEyes training and with an unknown amount of time working from home stretched out before me, I decided to continue working on my communication skills and began an online British Sign Language (BSL) course.

Figure 7: First things first, how to sign ‘library’!

The course covered a whole range of topics such as greetings, numbers, rooms and furniture in the home, colours, weather, travel and jobs. Despite this I still have a long way to go before having a fully coherent conversation using BSL with Deaf colleagues in the conservation studio, or with Deaf and hard of hearing tour visitors. But as the library staff slowly begins to occupy our sites, I look forward to being able to continue the learning process through informal everyday practice (perhaps I’ll even learn how to sign bone-folder!), and hopefully once our tour programme resumes I can put all of these new communication skills to the test!

The Conservation Department has a well-established emergency response system with Salvage Teams at both our London and West Yorkshire sites. Team members are on a callout rota and will work alongside other colleagues if we have an incident that threatens our collections.

On 23rd March this year, The UK Government announced a nationwide lockdown in response to COVID-19. We, like many others in the sector, had to re-evaluate our underlying assumptions about how we would respond to incidents affecting our collections. Countrywide we were now discouraged from travelling and asked to remain at home.

We are fortunate that our colleagues in the Estates, Health and Safety and Security teams have continued to work through lockdown, keeping our buildings and collections safe. This reduces the likelihood that the Salvage Team would need to be called out. However, we needed to make sure we understood when, and how, we could effectively respond if either Team were required.

A crate of wet and damaged books used in practical Salvage Team response and recovery training

Reviewing procedures

This meant we had to review our procedures in the midst of an unfolding situation. We had limited guidance and prior experience to refer to, and so worked methodically one step at a time. Firstly, we clarified what we were permitted to do under the lockdown restrictions and then considered what changes we needed to make to our procedures. The situation meant that we had to be flexible and we realised that any updates made could be subject to further change at a later stage.

Secondly, we needed to communicate any changes to the Salvage Team and other stakeholders, most of whom were now at home and not necessarily easily contactable.

The aim was to produce clear updates to existing procedures

Team safety

Our primary consideration was the safety of the Salvage Team and other colleagues. We already have risk assessments covering normal salvage operations, so my colleague Emily Watts (Collection Care North Manager) and I began by drafting a COVID-19 specific health and safety risk assessment. The risk assessment covered all aspects of the response, from travel to safe working on site. Considerations included: Under what circumstances could the team travel? Were usual travel methods advisable? Were there personal considerations which meant that people preferred not to be on call at this time? 

Any changes that we made also needed to reflect site differences. For example, in West Yorkshire, most people drive while in London, the majority of the team is reliant on public transport.

Secondly, while we always consider the option of providing advice without being on site, we worked through this in more detail to reduce further the likelihood that anyone would be needed on site. If there was a need to attend, could team members arrange to arrive at the point when they were needed? What practical help could we provide remotely and what did we need to be on site to do?

Risks to collection

At the same time, I was taking part in a separate exercise to assess risks to collections during this period. It is natural to assume that while buildings are closed, risks also increase. However, while some may increase, others reduce. The risk assessment evaluated how the picture had changed and identified any increased risks. The outcomes enabled us to identify any mitigation that was needed, for example, regular on-site checks or closer liaison with colleagues who were on site.

Briefing notes communicated the risk assessment outcomes to the Salvage Team. We also briefed our key stakeholders; this ensured that there was a common understanding of the measures in place should there be an incident during this period.

As time has moved on, the lockdown has eased. We have started to reoccupy and open our buildings, and the risk assessment - as a living document - can be revisited and updated.

Practical salvage operations

Once on-site, we needed to consider how the Team could work safely. We needed to think about how the requirement for social distancing could be incorporated when, by its nature, salvage operations rely on close physical working with colleagues.

We have a range of PPE available to the team, but rather than this being selected in response to the incident, we now ask that people don specific items from their arrival on site. In terms of revised procedures, we want to maintain flexibility and not be too prescriptive. We are therefore encouraging Salvage Team members to plan the response carefully to limit the need for close working wherever possible. The Team have been encouraged to raise issues and, ultimately, told to cease operations if they have concerns.

Small adjustments to workflows can be made to ensure social distancing, but there is a knock-on impact. For example, we can minimise activities that do require people to work together closely, such as sheeting up with plastic. We can encourage the use of tools, such as trolleys, rather than passing items from person to person or moving them in pairs. However, we need to accept that this will mean that working methods are less efficient and so could take longer. Team members may also need to rotate more frequently and work shorter shifts, and have more breaks.

By contrast, working remotely, we have realised that video calling software creates more options to provide an immediate off-site response or to have a hybrid response with some team members on-site and others providing assistance from home.

It was important to ensure the Salvage Team felt safe if they were called out

Responding to emergencies

By working out what the significant risks were, and combining this with the need to ensure staff safety, we could then look at how this would affect our response.

As an example, our system is based on us using a series of pool phones which contain our salvage manual in a set of small files. This structure enables the user to navigate to the content that they want rather than wading through a long document to find the relevant section. Each week, those on-call pick up their allocated salvage phone and then return it at the end of their duty week. Now the phones were with those who last used them with no mechanism to swap them between us.

A priority for me was to ensure that everyone still had this information in some form when they were on-call. Provided as long-form documents, this reinforced how well the small bite-size files works. I'm currently working with our IT department to investigate options to switch from using the pool phones to using secure collaborative tools. These can be accessed on a range of devices, ensuring easier access to all Salvage Team resources by multiple users. Changing systems also presents an opportunity to save costs on handsets and data contracts.

One thing we did maintain was our usual rota system whereby the Team members on-call that week report in by email every Monday morning. However, during the lockdown, we have been using WhatsApp (a group messaging app). Communications go to all team members at once, which means that there is less chance of missing a notification if someone can't do their duty or needs to call out the whole team. Again collaborative working tools provide more sophisticated messaging options which could simplify this further.

Some short term changes to procedures, introduced to cover the lockdown period and early stages of reoccupation, are no longer needed.  However, if the need arose, we could reinstate them. Remote working has also reinforced those temporary procedures that work well which we want to continue to use.

The benefits of short electronic files were clear when compared with long form documents

Staying in touch

One of the on-going risks we identified was the challenge of keeping distributed Salvage Team members in contact. Team cohesion is critical; successful incident response depends on everyone working together as a team and supporting each other. Not all team members typically work closely together, and those that do were now physically separated. We have recently recruited three new team members to the London Salvage Team, one of whom had not begun their induction process. It was important to me that they and their colleagues felt supported in this unprecedented situation and so we started to think about how best to do this.

Over the last 18 months, I have completely revised the Salvage Team induction training. One of the new additions is a module around decision-making. This involved looking back at actual incidents to discuss what had occurred, how people were alerted, who did what and how decisions were made. New team members who have completed this fed back that they felt reassured by this and much clearer about their role in an emergency. An outstanding action was for existing Team Members to attend the same session.

We have also been offering individual training exercises, for induction training and general refresher training alongside as group exercises. Feedback from these had been positive as people could complete them at their convenience and own pace. We realised that offering similar activities, to be completed at home, would deliver a double benefit. It was a way of keeping the Salvage Team in contact while also ensuring that their skills and knowledge are maintained.

A presentation on decision-making is a key part of the Salvage Team induction process

In the next blog, my colleague Nicole Monjeau will explain more about this training programme and how it has developed into something much more valuable than we'd envisaged.

Sarah Hamlyn

Lead Preventive Conservator

By Samantha Hare (Book Conservation Intern)

As I write this it’s been 134 days and 6 hours since I last stepped foot in the British Library (not that I’m counting or anything). I began a year-long internship in book conservation last November, arranged by Icon and funded by the Clare Hampson Fund. This experience has taken a drastic change over the last few months, as we as a nation have gone into lockdown. Instead, social distancing, PPE, Zoom Calls and Tiger King have all become part of our daily vocabulary. I have been reflecting upon how my internship has changed as we all continue in this uncertainty, questioning how the future of heritage is going to look over the coming months.

Image 1: My illustration of the British Library - drawn in my garden, can you tell I’m missing the building?

A bit more about me...

In 1997, at the age of four I decided I wanted to be a conservator. With my parents I visited Brighton pavilion and saw a woman restoring wallpaper, she patiently explained what she was doing and I sat and watched her. Since then I have wanted to work in heritage, but it wasn’t until my teenage years that I found out about book and paper conservation. Last summer I graduated from Camberwell College of Arts with an MA in Paper and Book Conservation (specialising in books and archives).

So conservation is a profession that not many people know about, and as an emerging professional it is always something I’m happy to explain. I was once asked at an interview how I would explain conservation to someone at a party, (remember those?!). I described conservation as the management of change, safeguarding collections and preserving items for future generations to view and receive knowledge and enjoyment from. Book conservators have an understanding of the mechanics of a book and its significance, be it culturally, visually, economically etc. They have a growing knowledge of the different binding processes, in order to conserve and care for those that are damaged, and an awareness of deterioration and how collections are altered by age. At a party I’d usually digress and say, I understand and fix old books, which really is only the tip of the iceberg.

My parents, both wonderfully patient and encouraging individuals just about have this explanation down when one of their friends asks ‘So what IS Samantha doing?’ However, lockdown has really confused my family and friends. Because how can I be a conservator if I can’t access the books?

Back to the present day...

At the British Library I was working on a variety of flat and bound works, including an Islamic manuscript, bound Civil War tracts, a 12th century parchment manuscript and a large guard book I am binding from scratch, assisted and taught by experienced conservators in the department. Currently these books are locked away safely in the Inergen room inside the library, whilst I’m at home under lockdown in Forest Hill, South East London, with my partner, two housemates and two cats.

Contrary to confused family faces over Zoom, a conservator at home still has a lot to do! When I applied for the internship at The British Library I was so excited to learn from so many incredibly talented conservators in the department that I would become a small part of. My colleagues and mentors have all trained at various times and in different places, resulting in a huge practical breadth of knowledge and experience displayed by my team and others. From November until lockdown began I received such wonderful training at my bench, and my internship was everything I thought it would be and more.

I have always been aware that there’s so much more to conservation than the practical work, despite that being my main area of interest. For example, the preventive side. Controlling the environment should be the primary and most fundamental care for any object extending to the storage and rehousing of volumes.

Entering lockdown I have seen the British Library shift to digital communication, maintaining their duty to provide mental nourishment for its online visitors. There have also been connections with the local community, such as conservation donating their PPE to frontline workers (usually used by us when dealing with chemicals or harmful substances such as mould in the quarantine room).

Upcoming exhibitions are an important consideration, from the organisation, storage, and loans; up to the installation of the objects with social distancing in place. Post-install, the rules for social distancing have changed how an exhibition can be viewed; during lockdown a large consideration has been the technical challenges that come with this, e.g. audio aids such as headphones and visual aids such as touch screens can no longer be used. As such museums and galleries are coming up with innovative alternatives. Through shadowing senior members of the conservation team in meetings I have seen just how many internal members of staff and departments come together in the curation and creation of an exhibition. I have also had a glimpse at the external teams involved, such as contractors and transportation companies responsible for the safe journey of an object to The British Library, many of whom are currently furloughed so unable to take part in strategising.

A large portion of a conservator’s time at home revolves around continuing professional development. This can take many forms, such as webinars, and online courses. Digitally I have learnt a wide range of skills and developed an understanding in areas such as historical imperfections to paper at the time of manufacture, the materiality of early Islamic bindings, pigments used around the globe to the possibilities of using x-ray scanners in conservation digitisation.

Image 2: A photograph of my desk, our cat Reno has also become a regular attendee of webinars and team meetings.

There has been continuation in my own research and many subgroups within the department furthering conservation methodology, as well as an opportunity for scientific tests and advancement, with scaled back tests being completed from home. I myself took part in a washing experiment, guided by textile conservation; I created samples with flaking pigments to test at home. One of my housemates was at the time baking banana bread (surely we all have by now?) so I used our bathroom. I created a washing bath in a plastic storage box, the only flat surface in the tiny bathroom being the toilet lid so I had to ask my housemates to alert me if they needed to use the facilities as I was ‘doing science’ in there.

A large portion of time has also been spent completing and updating risk assessments and health and safety procedures, an ongoing process within the department. There has also been an overview of workflows regarding conservation processes both internal and external to the library. Considering the decision making from acquisition, to the curator’s desk, to the conservator’s bench, to display in the galleries, to a reader’s request. Like most people working from home I have spent the majority of my time at a computer, but I have also been developing my practical skills at home, maintaining dexterity and my hand skills so that when I can safely return to my bench my practical skills don’t feel like a distant memory.

Image 3: Some endband and binding models I’ve made at home.

These are just some of the areas I’ve been focussing whilst in lockdown, showing the diverse skills possessed by conservators whose knowledge has to cover this wide field. As we’ve adapted to working in the great indoors, my tool roll has remained mostly untouched except for the odd brush or needle. This has allowed me to evaluate the non practical tools a conservator equips themselves with when they are away from their bench. There are too many to list so I have instead tried to capture this in an illustration of my tool roll.

Image 4: My illustration of a conservators tools, inscribed with the tools a conservator uses away from their bench.

My diary is filling up with plans for the next few months as we take the first hesitant step out of lockdown, surrounded in uncertainty for the future of heritage. Further updates about that in Part 2.

In the meantime if you wish to see more please follow my instagram @samanthahareconservation.

Thanks for reading and stay safe!

The pandemic took the conservation department in the British Library by surprise along with everybody else! Conservators working on physical objects found themselves transported to digital working overnight. For some it was an easy transition, while others adjusted with a few more hiccups on the way, but all were missing practical conservation and working on objects. Home libraries in need of attention were in luck in the pandemic - mine certainly was, and one such book sent me on a voyage of discovery. The book: Maria, Lady Callcott by Rosamund Brunel Gotch, was a modest looking cloth bound book suitably embellished with a picture of a sailing ship gold tooled on the front cover.

Picture 1: The picture of the front cover before and after conservation.

The book, passed down through generations, must have been tightly squeezed on the shelf at some point of its life, as paper fibers from the adjacent book transferred onto the cover. It didn’t need much work, but it was a pleasure to hold a scalpel in my hand and to take time to remove the paper fibers. A gentle saliva swab dealt with the remaining adhesive residue.

The text block inside the covers was in good condition but with time on my hands, I looked through the contents and was intrigued by the subject of the book; Maria Callcott, a Regency woman who lived and travelled extensively in the days when getting to places took months and a travelling woman was an anomaly rather than a norm!

Picture 2: Title page.

My itchy hands, however, would have moved to the next project without delving too much into the contents, had it not been for the gradual release of the lockdown and a prospect of meeting a friend in an open space within easy reach. My friend suggested Kensal Green Cemetery, an unusual choice but quieter than parks in the pandemic. It was also a resting place of many well-known people including Maria and her husband, Sir Augustus Wall Callcott, a notable painter and the Surveyor of the Queen’s Paintings. There was a chance we might locate Maria Callcott’s final resting place during our meeting too.

Before the meeting we checked the coordinates for a few graves we wanted to find and discovered that a number of well-known people had none listed but there were some for Maria’s husband.

The weather throughout the lockdown had been a real tonic, and the sun shone for our meeting too. We had a nice stroll through a very atmospheric place, but finding graves was near impossible. The cemetery lost its original layout and most graves lost their inscriptions. It looked like the story of my book would have ended there had it not been for another twist. The Callcotts’ grave could only be located because of Maria, rather than her more distinguished husband. It was restored 12 years ago by the Chilean embassy with a plaque dedicated to Maria.

Picture 3: Picture of the plaque on Maria’s grave.

The passage of time has righted a historical wrong. Maria, the wife of Sir Augustus Wall Callcott became Maria, a woman in her own right, a friend to the Chilean nation, an intrepid traveller, an author and an illustrator of her travel, art and children’s books, and a governess to a Brazilian princess. I feel I should now try to find more about her by not putting the book back on the shelf and reading Maria’s biography.

Iwona Jurkiewicz-Gotch

P.S. After the above blog had been completed I came across another blog about Maria posted on the V&A website, which might be of interest.

Heather Murphy

Recently, within the conservation studio of the British Library Qatar Foundation Partnership, watermarks have been a theme. Throughout the months leading up to lockdown, my colleague Camille and I began developing a project based around some interesting examples of watermarks we discovered in a series of IOR Ship’s Journals dating from 1605-1705 being digitised by the project.  We have since been developing various aspects of this, one of which has been to create a (very) short instructional video on how to make paper, complete with personal watermarks, and the delivery of a paper-making workshop to the BLQFP team. (Another aspect of which has been the remote collaboration with Jordi Clopes-Masjuan and Matt Lee from the BLQFP Imaging team to develop digital tools for the viewing and analysis of watermarks in the collection). 

Having begun our research into watermarks, it was decided that we should attempt to make our own in the hope of learning more about their construction, and to demonstrate to the wider team how they are made. This led to the conclusion that, logically, we would also need to make paper to trial these watermarks. Researching how to make a homemade paper-making mould and deckle, we enlisted some expert carpentry skills, sourced the finest conservation grade chicken wire B&Q had to offer, some mesh, and some metal wire which we combined into a mould and deckle.

Home-made paper-making mould and deckle with watermarks attached.

This was taking place in September, during which was also scheduled the annual BLQFP away day, a chance for the team to both review the progress of the project so far and discuss possible future steps. However, as is happily a common ethos within the project, this is also a time where colleagues are encouraged to contribute and collaborate to make the day more interesting, allowing different teams to share aspects of their work. The format this year involved a series of two minute lightning talks, followed in the afternoon by a series of workshops. We decided that conservation’s contribution should therefore be a two minute video on paper-making, followed by a workshop where our colleagues could make their own papers. This involved some small re-arrangements within the studio, but with the aid of a Go-pro camera and a Gorillapod, we were able to film the paper-making process in action.

Having compiled the video, the next challenge was to figure out how to successfully replicate the setup outside the studio in order to deliver the workshop. This involved a lot of forward planning and, among other things, a blender, plastic sheeting and mason jars full of paper pulp. After a loaded taxi ride we were able to arrive at the meeting room and set up a makeshift paper-making station.

Delivery of the paper-making workshop at the BLQFP away day

Other brilliant workshops delivered during the day included a ‘write your name in Arabic’ session with the translation team, where people were introduced to some basics of the Arabic language and learned to write their names.

Arabic language workshop in progress.

The second was a cyanotype printing workshop with the imaging team, where people were able to learn about and experiment with the process. As another possible development to this watermarks work, we are hoping to undertake a collaborative experiment involving cyanotype printing on our handmade papers, complete with bespoke watermark designs.

Cyanotype workshop in progress.

During the away day, we were able to deliver what seemed like a well-received workshop, where our colleagues could use our two moulds (with watermarks attached) to dip into the ‘vats’ of paper pulp, forming their own handmade papers. These were then couched between sheets of Sympatex and Bondina and pressed in stacks throughout the day.

Making papers and couching the sheets.

Workshops underway.

When the day was over, we collected the equipment, delivered it back to the studio, and provided the newly made papers with fresh interleaving. These were left in the press to dry, and when we returned we were able to unveil some fine examples of handmade papers.

Examples of the handmade papers shown on the light-box.

This is a guest post by Heather Murphy, Conservator from the British Library Qatar Foundation Partnership. You can follow the British Library Qatar Foundation Partnership on Twitter @BLQatar.