Collection Care blog

Behind the scenes with our conservators and scientists

3 posts categorized "Medieval history"

03 June 2021

Iron gall ink on paper: Saving the words that eat themselves

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 20th 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: Three sheets of paper with dark brown iron gall ink.  The ink on the opposite sides of the papers is starting to show through.

[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: A magnified image of iron gall ink on paper, lit from the back, showing dark haloing around the text and areas of loss from regions of heavy ink.

[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 four ICN condition levels, illustrated with examples from the British Library’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: A flowchart indicating the decision-making process for the treatment of iron gall ink on paper.

[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: A British Library conservator carrying out immersion treatment of a paper manuscript with iron gall ink.

[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.

10 September 2018

Rehousing two 12th century charters

My name is Wanda Robins, and I am studying book conservation at Camberwell College of Arts, in London. A key component of the Camberwell program is to provide students with ample practical work experience in historical institutions to consolidate the theoretic knowledge gained at university. In addition to one-day per week placements throughout the school year, every student completes a four to six-week summer work placement between the first and second year, which is an opportunity to work on more complex projects and experience full time work in a conservation studio.

I was fortunate to have my placement at the British Library Conservation Centre (BLCC) and had an opportunity to work on an exciting project to rehouse two 12th century parchment charters that were gifted to the British Library from Abbey College, Ramsey.

Ramsey Abbey was a Benedictine abbey founded in AD 969 in what is now Cambridgeshire. The two charters bear the seals of Henry I (king from 1100 – 1135) and Henry II (king from 1154-1189) and grant the surrounding land to the Abbey.

The curators and the conservation team determined that the charters should be rehoused due to the acidic mount board and the frame was not well sealed. It was also apparent that the charters were pasted down to board, which constricts the natural movement of parchment, and would ultimately be detrimental to the charters.

Before Pictures:

 

The charters as shown in their original housing, with in a wooden-framed glass mounting. The two charters sit on the top, with the description of each charter below.
Original frame and condition: frame has gaps and is sealed with tape on back.

The back of the framing, showing black industrial tape running along the join of the frame and backboard. a closeup of the wooden frame corner, showing the frame edges pulling away from each other. the Glass cover edge is also now exposed.

Charter with Seal of Henry I, in original housing.

an image of the Charter with the Seal of Henry I. The charter itself appears mostly white in colour, with a cutout area around the seal, which is a light brown, but has been chipped and damaged, reveaing a white underlying layer.  a closeup of the seal, revealing a warrior holding a spear and shield, mounted on a striding horse.

Charter is fixed directly to board backing.

A close up of the Charter with Henry II's seal, in its original housing. The charter has writing in fairly gothic script, in a faded red on the pale parchment. There are two seals, in a red colour. The left hand seal is slghtly larger than the right.
Charter with Seal of Henry II, in original housing.

 

Backing Removal

Taking the charters out of the original housing proved to be a bit of a challenge – it turns out that someone took a great deal of time to engineer a safe way to mount the seals so they could be set safely within the mount. The seals were set within tubes with cotton pads and cotton wool.

An image of the charter in its original mounting, with one item in the bottom right removed, exposing the backing frame. A metal ruler is lying lengthwise across the mountboard in the middle, and a metal scalpel is also lying lengthwise on the mountboard on the bottom edge.  Underneath the original mounting, showing two tubes packed with cotton wool, to protect the seals that would be lying atop the mount board.

A closeup of one of the tube seals. a hand is lifting the cottonwool out of the tube, revealing the card and paper and the back of the red seal within. the second smaller seal is on the right, with no tube above it.

To lift the parchment off the backing board, we tested with an 80/20 solution of isopropanol to water, which proved effective.

The backing board being gently lifted away from the parchment and the backing board.

Once we had this worked out, I worked from the back and removed layer after layer of the backing board, moistening with a damp sponge. Once I reached the back of the parchment, I used the isopropanol/water solution to reactivate the animal glue so I could remove it with a micro-spatula.

A closeup image showing the peeling away the brown backing board from the pale parchment from around the back of the seal of Henry I Another image, this time zoomed out, of the brown backing board being peeled away from the parchment. A large swathe has been removed, exposing the back of the parchment.

Another view of the backing board removal, this image is zoomed out a little more, showing the charter lying face down on a protective white sheet which in turn is also on a table. to the left of the parchment are scraps of backing which have been removed from the parchment.   A closeup view of the second charter, showing the brown backing board being removed, with the area around the two seals protective tubes as yet unremoved.

A very close close-up of the Backing board removal, showing the paper backingwhich was underneath the card backing board, being slowly eased away from the parchment.

Tools used for backing removal.

a picture of the variety of tools utilised in the charter rehousing. On a grey table rests two small metal spatulas, next to a shiny small sharp ended tweezer, and a small white-handled paintbrush, resting on a china paintbrush holder. To the right of the tools is a clear glass open box, with a small clear empty beaker, and a very small bottle of the chemical mixture which is clear in colour.

It took me several days to get the backing off and in the end, I couldn’t remove everything. There was a notable difference in the two charters, as the older one was much more degraded, so we decided that we would leave a skim of the paper backing and not risk damaging the parchment further.

The back of the parchment, showing the remnants of the paper backing, which looks akin to a white fuzz, which is still present in some areas of the parchment.

Once all the backing was removed we found additional writing on the verso of the charter.

An image of the rear of one of the charters. the removal of the paper and card backing has revealed previously hidden text running vertically down the charter.

During the cleaning process, we noticed that the seal of the older charter, though likely wax, has a grainy texture, and was shedding bits and granules. One of the senior conservators recommended that we consolidate it with a synthetic adhesive, Paraloid B72.

A close-up of one of the seals. This seal, of Henry I, shows clearly the image of a mounted rider, bearing spear and shield. The Grainy texture of the seal, with its browny exterior in contrast to the white underlaying color, where the seal has been damaged or or broken away. A conservator, wearing a brown apron, is slowly stirring a glass beaker atop a hotplate.

Finally, to work out a new mount and storage for the charters, we discussed various ways of tabbing the charters to fix them to a mount board. We planned the tabs first.

A plan of the rehousing, as drawn on paper. The image consists of a large rectangle, with two circles where the seals would lie, and a cut above the seals in line with the charter itself.

Using a light Japanese tissue, we attached small splints to the verso to keep the various strips of parchment in place and protected.

Two pieces of Japanese tissue paper, as seen up close, on a green cutting board, lying next to a set of tweezers. The two pieces of tissue paper are off-white in colour, with very long fibrous edges.   The two pieces of Japanese tissue paper, now attached to the rear of the parchment, where there is a large designed-split to accomodate the seals.

We cut uniform sized tabs of Japanese tissue with a water pen and attached these to the verso with a light application of wheat starch paste. This can easily be removed in the future, if needed.

A series of tabs made of Japanese tissue paper attached to the rear of one of the charters. A black weight, sitting on a light board, is keeping the parchment flat. A blue water pen being used to cut the tissue paper, which is held in place using a clear ruler. Two strips of japanese paper are lying to the side, already eased away from the main sheet.

a example picture of a tab of Japanese paper sticking out underneath the parchment. The flwoing script of the charter can be seen, albeit faded in the light. A hand is uplifting the charter, showing the tissue tabs sticking out from all sides of the parchment, afixed underneath. The Charter is resting on white plastazote.

Once the tabs were adhered to the verso of the charters, we cut slits into a sheet of Plastazote foam and pushed the tabs through the Plastazote so that they would not be visible from the recto.

A hand holding a slim green metal conservation spatula, in a similar size to a small paintbrush, is gently pushing the tissue tabs down into cut slits of the white plastazote base which the parchment is resting on. The tab being eased into the cut slit is at the bottom left of the of the parchment.  Underneath the white plastazote base, the tabs which are attached to the parchment resting atop, can be seen dangling down, after being pushed through cut slits into the material.

The effect was a bit like the charter is floating on top of the foam. The charters are secure and they cannot move around. The Plastazote could also accommodate a small indentation cut into it to support the wax seals

Within its new mount board:

The charter of Henry I, with the brownish seal, is pictured on the new white plastazote base, with the edges of the parchment lying flat against the base.  The same charter, still resting on its new white plastazote base, is now seen with a new conservation-friendly mountboard, which has framed the charter. The mountboard is slightly offwhite in colour.

I was able to get both charters and the two descriptive labels all housed and ready for a new box. It was a really exciting and interesting project to learn about and get to experience. I am so grateful to the various staff that supported me and helped me through it.

During my month at the BLCC I was given the opportunity to share this project with three different public tours. This was really fun and also meant a lot to me as I as I had first become interested in conservation by attending a public tour of the BLCC in 2015.

23 October 2015

Magna Carta Conservation Team at the ICON Awards

The British Library conservation team that worked on the Magna Carta project attended a glamorous awards ceremony at the Institution of Mechanical Engineers last night. The team were shortlisted for the Institute of Conservation (ICONAnna Plowden Trust Award for Research and Innovation, which went to Tate for their impressive Rothko Conservation Project. A huge congratulations to the Tate team and to the Imperial War Museum who were also in our category for their amazing space vacuums, air bazookas and duster drones project in the War Against Dust.

Four members of the Magna Carta conservation team stand to have their picture taken; they are standing in front of a dark wood wall.
Left to right: Cordelia Rogerson, Christina Duffy, Gavin Moorhead, Julian Harrison

The Magna Carta Project was a collaborative process of sophisticated research and innovation that enabled a pragmatic solution for rehousing and displaying an iconic document. Our biggest challenge was overcoming long held preconceptions and expectations that a high profile artefact required an expensive high-tech approach. You can read more about our work here.

Flyers for the Icon Conservation Awards rest on a table. They list information about the event such as date, time, and location.

It has been a great privilege to work with Magna Carta and the curatorial team in the build up to the British Library's most successful exhibition Magna Carta: Law, Liberty, Legacy.

Many thanks to all colleagues across the British Library and other institutions who helped progress the project into something we are all very proud of. Thanks to ICON and their sponsors Beko for organising a terrific night celebrating an incredible range of conservation work going on around the UK.

Congratulations to all the entrants, shortlistees and winners!

Christina Duffy