Collection Care blog

Behind the scenes with our conservators and scientists

Introduction

Discover how we care for the British Library’s Collections by following our expert team of conservators and scientists. We take you behind the scenes into the Centre for Conservation and the Scientific Research Lab to share some of the projects we are working on. Read more

03 May 2023

Whales, horses and zebras—oh my! Conservation work for the Animals: Art, Science and Sound exhibition

In preparation for the Animals: Art, Science and Sound exhibition, Conservation assessed the suitability for display of over 150 BL collection items, of which just over 120 items actually made it into the exhibition. Seventy of these items came into the conservation studio for treatment prior to being displayed. The kind of treatment for each item varied greatly. Some volumes needed intensive treatments because the covers had become completely detached, and others just needed some minor care, such as tidying board edges that had become split and frayed. Some of the paper items needed tear repairs or flattening because they had been stored rolled or folded and many of them needed window mounting so they could be framed or displayed vertically.

The conservation work for all the items was shared between many conservators in the studio. The work started in January, giving team members enough time to complete their treatments prior to the install of the exhibition in March. Conservation play an integral part of the exhibition process and without the support we provide, many of these wonderful items would not make it into the show.

Below, three conservators discuss a few items that came through the studio for treatment ahead of the exhibition.

Amy

I worked on several volumes for Animals.  My favourite was Or.917, which contains very detailed paintings of whales. . My attention was immediately caught by two in particular – as well as being beautifully painted they both have rather evocative facial expressions!

A painting of a killer whale on a cream background. It is shown from the side, with its tail in the air and its flippers held out on either side of its body. The whale is mostly black except for its belly, which is grey and white. The whale’s eye is half-shut and it looks sleepy. Its ear is shown as a little white circle behind the eye. Its mouth is open, showing its pink gums and sharp white teeth. There are eight labels in Chinese characters which are joined to the whale’s dorsal fin, eye, tongue, ear, blowhole, and belly with red lines.
Painting of a killer whale
A painting of a mottled grey whale on a cream background. The whale’s skin has been given a textured appearance on its back and side by manipulating the paint with a circular sponge or fingertip. It is shown from the side and holds its flippers out on either side of its body. There are areas of small white dots on the whale’s back, belly, tail, jaws, and on one of its flippers. This gives the impression that the whale is covered with barnacles. It also has small white whiskers on its chin. The whale’s eye is half shut and the curve of its mouth is like an upside-down smile. There are ten labels in Chinese characters which are joined to the whale’s chin, back and belly with red lines. Below the whale’s head is a picture of a piece of baleen – it is a small white rectangle with long hair-like strands extending from one of the long sides. It is also labelled in Chinese characters with a red line.
Painting of a whale with barnacles

The most badly-damaged book was an early nineteenth-century volume entitled Fishes of the Ganges (Mss Eur E72). When the book came to the conservation studio the paintings themselves were in good condition, but 200 years of usage had taken their toll on the volume’s binding. The green leather of the spine was badly abraded and several pieces of it were missing. This posed a structural risk to the book, as it made it more likely that the boards would become detached at some point in the future. The red-brown paper which covered both boards was also not in a good state, with the pigment faded and rubbed away and pieces missing at the corners and edges of the boards.

A hardcover book against a grey background, photographed showing the front cover.  The book is covered in reddish-brown paper with a blue marbled pattern and a blue-green leather spine. Some areas of the paper are cream-coloured where the reddish-brown pigment has been rubbed away. The leather has split vertically down the edge of the cover and also has cream covered areas where the top layer has rubbed or peeled off. The paper and leather are missing at the corners of the cover, exposing the brown board underneath.
Mss Eur E72 before treatment

As conservators our aim is always to retain as much original material as possible when carrying out treatment. My repairs to the marbled paper were very minimal. Using acrylic paints I toned a piece of Japanese handmade paper to a similar colour to that of the original, which I then used to fill in the gaps on the corners and edges of the boards. The damaged leather required a more interventive approach. After careful consideration I concluded that it was not possible to both keep the original leather and reinforce the binding structure. I therefore replaced the old leather with new green goatskin, but retained the old pieces so that readers can still access these remnants of the original binding. An additional result of this treatment will be that when Fishes of the Ganges returns from exhibition it will be robust enough to be consulted by readers and researchers without (hopefully) sustaining further damage.

The same hardcover book against a grey background after conservation treatment, photographed showing the front cover.  The old damaged leather is gone and the spine is covered in new, dark green leather. The exposed corner areas on the right-hand side of the cover have been covered with reddish-brown paper, a slightly lighter shade than the original.  The paper still has cream-coloured areas where the reddish-brown pigment has been rubbed away.
Mss Eur E72 after treatment

 

Veronica

The animal protagonist of a volume I treated for this exhibition is the horse. ‘The Anatomy of the Horse’, 1766, a printed book by the British painter George Stubbs, includes exquisite etchings engraved by Stubbs itself, which are anatomically accurate and elegant. The binding is a purple quarter leather binding with purple covering cloth on the sides of the boards and parchment reinforcement on the corners beneath the covering material. The leather spine is gold tooled with the author’s name, title and place and date of publication. The numerous plates in the text block were printed on thick laid paper.

The right page of the intended display opening, showing an incredibly detailed black and white full body anatomical drawing of a horse, with its head facing right and tail facing left. There are clear plate lines an inch or two away from each edge of the page, showing this image was printed from a plate. Small text at the top right corner, within these plate lines, reads, “Tab IV”. The top and fore-edge of the right board are visible, showing a dark maroon covering material, with gold tooling forming a thin line close to and parallel with the board edges. The covering material has detached from both board corners and the boards are delaminating, this damage is more pronounced in the top corner.
Tab IV. Exhibition opening page.

The binding was in poor state of condition, with both boards detached, delaminated and with missing areas, and the cloth and parchment covering materials on the corners considerably abraded. The leather was split along the spine edges and was heavily worn and coming unattached on the spine, with the grain layer flaking heavily, and some missing areas at head and tail on the endcaps, along the bands and along the edges. The gold tooling on the spine was partially missing.

The left board of a maroon cloth bound volume is partially visible; the fore-edge side of the board is out of frame, the spine edge in frame. The edges of the board are a slightly lighter colour, the covering material visibly detaching from the tail edge. The spine piece is heavily degraded, with the spine leather completely detached from the spine in places and the leather join split almost the length of the spine.
Left leather join split.
A maroon cloth bound volume lies flat on top a grey surface, showing the spine and the left board. The spine is visible in full, lying horizontally across the frame. The spine leather is heavily degraded, only small sections of dark leather can be seen, as the majority of the leather visible is a light brown and appears fluffy in texture. There are six separate spine sections, split by five raised bands, at least two of these raised bands have been lost completely, a further two are heavily abraded and damages and the final band is not visible due to the spine pieces on either side being so detached that they cover this area. The Spine pieces at the head and tail end have also come detached. There are two labels adhered to the head edge of the spine. There is gold lettering and tooling in every section on the spine. The other sections show design/emblems.
Highly degraded leather spine.

The conservation treatment started with the consolidation of the board corners, by reconstructing the missing areas with layers of Japanese paper adhered with a reversible adhesive. Next, we stabilised the parchment board corners with Japanese paper. The boards protected the text block again!

Once the treatment of the boards was completed, we proceeded with the removal of the old spine lining which was acidic and inflexible and caused the volume to not open well. For the lining removal, we used a poultice, locally applied to the spine to soften the lining materials and adhesives used in the past. The new spine lining, made of Japanese paper and aero-cotton, was strong and flexible and has the function to suitably support the text block spine during opening.

For the treatment of the highly degraded leather spine, together with the exhibition and loans manager and the departmental curator, we carefully evaluated the most suitable option.  Considering that the leather spine’s original state was already been lost and had no historic significance, we decided to apply a new leather spine on the book, gold tooled in the design of the original, and to keep the original pieces, consolidated, in a polyester pocket, secured into the box. With this solution, the volume could be safely displayed and handled, while as much as possible of its physical integrity was retained, with the original spine pieces available for research.

The leather reback on the spine was carried out with a goatskin leather that matched the colour and grain of the original one and was worked to the desired thickness. The treated book was finally housed in a phase box.

A maroon cloth bound volume lies flat on a grey surface. The entire left board is visible and the spine piece is partially visible. The covering material does not cover either of the board corners, which are white rather than maroon, though the corners are not bent or delaminating. Gold tooling of a thin gold line is visible along all edges of the left board, other than the board corners. A reddish brown leather covers the spine, with five raise bands visible along the spine. There is a slightly larger gap between the bottom band and the tail edge than there is between the top band and the head edge, with equal spacing between the raised bands.
Left board after treatment.

 

Old spine leather that has been removed from a volume, in six separate pieces, in a long thin melinex pocket. Each piece of leather is heavily degraded, some of the leather a darker brown but the majority a light brown. All sections of the spine have lost their original shape due to loss of leather. Gold letter is still visible on the second piece from the top, reading, “STUBBS ANATOMY OF THE HORSE”. Gold tooling is visible on all other sections. The top and bottom section show the emblem of a crown, whilst the other three sections show the same decorative emblem. The top section has two labels: a blue circular label reading, “460 f13” and a white rectangular label reading, “74/”.
The original consolidated leather spine is attached by means of Western handmade paper strips to a Melinex pocket sealed on all sides and to the box where the volume is housed.
A reddish brown leather spine piece lies on a grey surface. This spine contains five raised bands, which create six separate spine sections, each complete with gold tooling. A double gold line is at the top and bottom of each section, the top section also shows the emblem of a crown and a white rectangular label reading, “…”. The second to the top section contains gold lettering reading, “STUBBS ANATOMY OF THE HORSE”. The bottom section also depicts an emblem of a crown, and lettering reading, “74/460.f.13”. The other sections depict the same decorative emblem.
New leather spine with gold tooling.

Storm

Historia Aethiopica is a beautiful parchment bound volume I helped treat for display in the Animals: Art, Science and Sound exhibition. This volume included three foldout folios that protruded from the text block even when folded in resulting in heavy creases and weakened paper that had led to tears and areas of loss. I surfaced cleaned the display pages and other pages I treated which displayed surface dirt, to prevent moisture from any materials used in the treatment from causing the dirt to further bond to the surface and to improve the overall appearance of the object.

Volume lies open on conservator’s bench, surrounded by different size and shaped weights, clamps and other tools. The left board, together with the majority of the Textblock, is resting on a large triangular plastezote book rest. The right page is an oversized fold-out currently folded in, so the images are not shown in full, a tree is visible as well as the long tail of an animal. The right board and remainder of the Textblock are lying flat on the bench on top a layer of blotter and bondina. The top page on this side is an oversized folio that is folded out; the picture shows the verso but a large Zebra visibly fills the page. This folio is resting on a piece of mount board and bondina with three thick boards underneath right side so the page lies flat. Multiple thin Japanese strips are visible, these are tear repairs drying before the excess is trimmed. Two weights sit on top of a piece of mount board and bondina in the top right corner as an infill repair to the corner is drying under weights.
Verso of opening page during tear repair treatment

I repaired all tears and areas of loss on the display page, and other fold out pages, using toned Japanese tissue so the repairs were subtle and did not draw attention, and wheat starch adhesive, a reversible water-soluble adhesive.

The right page of the intended opening, a large fold-out folio depicting a black and white print of a large Zebra standing on a grassy area with two small trees on his left side and two larger trees on his right. There are clear plate lines showing this image was printing using a plate. Text above the zebra reads, “ZECORA QUADRUPES PULCHERRIMA / Lusitanis Buroodo Matto. Priscis / Oi Oaypr O., Asimus syloestris”, text in the top left corner reads, “Pag. 150. N.LXXIX”. All this text is within the plate lines. The page is noticeably dirty, has two small areas of loss along the right edge, one visible tear at the bottom edge in the centre and is noticeably dirty.
The display page pre-treatment
The same page depicted the black and white print of the Zebra is shown. However here it is noticeably cleaner, some of the heavier creases have been reduced, and the areas of loss and tears have been repaired.
The display page post-treatment

I used a heated spatula, with a barrier layer to protect the paper, to reduce some of the heavier creases and to flatten the corners as they were heavily curled. I also used the heated spatula in combination with some wheat starch adhesive to strengthen the edges of the page as they were extremely thin and weak, therefore were at a high risk of further deterioration.

A volume sits on a white surface, only the bottom right corner of the text block is in frame. Text is visible on the top page written in black ink and in Italian, the paper is slightly yellowed at the edges. A heated spatula is being applied to the bottom corner of this page, with a square of blotter beneath the page and a layer of bondina between the spatula and the page
Using a heated spatula to flatten a page’s corner

There was also damage to the binding, a tear at the top edge between the left board and the spine, which would likely have deteriorated further during exhibition, as it would be displayed open causing more stress to this area. I repaired this by inserting a piece of unbleached shirlan cotton adhered with a mixture of EVA and wheat starch adhesive to hold the board and spine together to reduce the risk of it tearing further whilst on display or during future handling.

Parchment bound volume lies on a layer of blotter covered with bondina. Only the top left corner of a the left board and top section of the spine is visible. There is black lettering on the spine, though only part of each word is visible: ‘..OLFI/ ..ariusin /…ICAM”. A piece of acid-free tissue is protruding from underneath the left board. The left board is covered in small scratches and there is a small split at the top edge between the left board and the spine piece. A small piece of white fabric is protruding from this split, having been inserted into the left board side and adhered in place.
The binding repair during treatment
The top left corner of a parchment bound volume is visible, showing the top left corner of the left board and the top section of the spine. The left board is covered in scratches and a small split is visible between the left board and the spine at the top edge, with the left board side of the split overlapping the spine piece.
Damage to binding
The top left corner of a parchment bound volume is visible, showing the top left corner fo the left board and the top section of the spine. The left board is covered in scratches. There is a small split visible but the parchment on either side of the split are almost touching with a small visible white gap between.
Binding repair

Both the head-edge endband and the tail-edge endband had also become almost completely detached from the text block, thus needed to be repaired. As I was unfamiliar with this type of treatment I closely observed as my mentor, Veronica Zoppi, undertook the treatment to the head-endband. This was incredibly educational as I was able to take photos and short videos of each treatment step whilst asking questions, which allowed me to make detailed notes complete with diagrams for future use and to treat the tail-edge endband.

First, I cleaned the endband and spine edge of the textblock using Konjac and Xantham gel, to improve the appearance of the endband but also so the repair materials would adhere properly.

A hollow-back parchment bound volume stands upright on a conservation bench on top of a piece of blotting paper. The volume is opened at roughly the centre, fairly wide, exposing the hollow. A green and white endband is visibly detached from the text block, there is a thin strip of the text block closest to the spine much lighter in colour than the rest, where the endband would have once covered. The endband is lying flat across the hollow, it is attached the volume on the right side but the left side of the endband is detached and the central core is visible. There is gel covering the endband.
Endband with gel on during cleaning

The endband was then fixed in the right position using a strip of Japanese tissue adhered to the bottom edge of the endband and to the spine of the Textblock, this was then left to dry shut.

A parchment bound volume lies closed on a piece of blotter and bondina. Only the spine side of the head edge is visible. A green and cream sewn endband follows the curvature of the spine. There is a small piece of bondina and a small piece of melinex protruding from between the text block and the spine.
Japanese tissue holding endband in position drying

To reattach the endband, I sewed through the text block, around the endband core, passing again through the centre of some sections in the text block, marked by paper markers. Usually when re-attaching endbands a conservator would have access to the spine of the text-block, as the spine piece would have been partially or completely detached. As this was not the case, to allow access to the spine, the volume was held open with weights, and then a curved needle was used to reattach the endband using linen threads that closely matched the original endband colours.

A thick volume is held standing on a conservation bench, on top of a layer of blotter and bondina. Only the head edge of the volume is visible, with the fore-edge out of frame but the endband and spine edge visible. Six paper markers spaced approximately evenly throughout the text block, protrude slightly from the head edge.
Section markers
The head-edge of a parchment bound volume is partially visible, with the fore-edge side and the majority of the head-edge of the volume out of frame. A green and cream endband is visible with a clear gap between this endband and the text block and another gap between the endband and the spine.
The endband pre-treatment
The head-edge of a parchment bound volume is partially visible, with the fore-edge side and the majority of the head-edge of the volume out of frame. A green and cream endband is visible, the endband touches the text block at the very left edge, but a small gap is visible between the endband and the text block, this gap widens from the centre to the right side. There are three very thin threads visible in this gap; this is the repair stitching holding the endband in place.
The endband post-treatment

Conclusion

We hope you’ve enjoyed this glimpse into preparing items for display. All items are now on view in the exhibition. Book your tickets here.

12 April 2023

Preserving Bach’s manuscripts

Two Johann Sebastian Bach manuscripts in the British Library’s music collections - the autograph manuscript of the second book of the Well-Tempered Clavier (BWV 870-893) and of the cantata ‘Wo soll ich fliehen hin?’ (BW 5), recently came into the conservation studio. Treatment was undertaken with generous support from the Leche Trust.

This blog post focuses on the work undertaken on the Well-Tempered Clavier manuscript, which we are pleased to say is now complete.

A musical manuscript showing Bach’s Prelude in C Major. The musical notes have been busily squeezed onto one bifolio. The musical scores have been drawn by hand in a thick dark brown ink on brown paper, which has evidence of being folded previously in half. The bifolio has been mounted in a brown inlay paper which has discoloured over time causing it to darken in colour. The title of the piece is written above the musical scores and it has been signed by J. S. Bach alongside this, his writing is expressive.
Prelude in C Major (before treatment)
This image shows a close up of a brown musical note where the centre of the note is missing, it appears to have dropped out of the page, due to the corrosive and thickly applied ink.
Effects of Iron Gall ink corrosion; Iron gall ink has been used since the middle ages and is found on many of our most treasured manuscripts, including the Lindisfarne Gospels, Beowulf and Magna Carta. The main ingredients of iron gall ink include iron sulphate, tannins from oak galls and water.

 

The Well-Tempered Clavier, Book II

Bach’s Well-Tempered Clavier (named after a system of tuning – ‘well temperament’) is one of those musical works that seems to justify the grand claims made about it. On the face of it, it’s a simple series of preludes and fugues in every key, major and minor: 24 in all, with two sets of these (giving the series its nickname ‘the 48’)’. But it’s also a jaw-dropping feat of compositional virtuosity, with Bach using his immense contrapuntal skills to weave together separate musical lines that fit together logically (but never too predictably) and yet also produce inspired music at the same time.

The British Library’s manuscript of the second book of the Well-Tempered Clavier (Add MS 35021 and Add MS 38068) is really a set of individual manuscripts for 21 of the preludes and fugues in the second book (those in C-sharp minor, D major and F minor are unfortunately not preserved here and must have been separated from the others at an earlier date). These were composed between 1739 and 1742.

Each prelude and fugue were mostly written out to (very satisfyingly) fit on a single side of an open folded page, avoiding the need to turn the sheet over – even if this at times means a bit of a squeeze. (No amount of squeezing was going to fit the lengthy prelude and fugue in A-flat major onto one side – this carries on over to the next side). Most of the pieces have been written out by Johann Sebastian Bach himself, apart from four and a bit which are known to be in the hand of his second wife, Anna Magdalena (those in C minor, D minor, E major, G major and the beginning of the prelude in F major).

A musical manuscripts showing Bach’s Prelude in C minor, this has been written in the hand of Anna Magdelena Bach, the second wife of J. S. Bach. The musical scores have been drawn by hand in a thick dark brown ink on brown paper, which has evidence of being folded previously in half. The bifolio has been mounted in a brown inlay paper which has discoloured over time causing it to darken in colour. The title of the piece is written at the top of the piece, A. M. Bach’s writing is much neater than J. S. Bach’s.
Prelude in C minor (BWV 871), in the hand of Anna Magdalena Bach (before treatment)


Planning – what were the issues?

Unfortunately, even in optimal storage conditions, chemical and physical processes that pose a risk to manuscripts like these can, over time, still occur. We minimise threats to the collection as much as possible, by controlling factors like temperature and humidity, by using appropriate housing and by limiting access to, and use of, particularly vulnerable materials. However, even with strict environmental monitoring a common problem that is difficult to halt entirely is one of iron gall ink corrosion. Like much music of this period and earlier, these Bach manuscripts are especially at risk from this due to the make-up of the inks that were used – iron sulphate and acidic tannins in particular, which, over time, oxidise and ‘eat away’ at the paper. There’s an interesting blog post on this here:  https://blogs.bl.uk/collectioncare/2021/06/iron-gall-ink-on-paper-saving-the-words-that-eat-themselves.html.

When it came to planning conservation work, there were two main issues to consider. One was the corroding ink, as mentioned above. This is a particular problem where the ink is applied thickly to a small area, as tends to happen when writing expressive music notation. There were various examples of this on the Bach manuscript, ranging from visible holes to less obvious hairline cracks, making it extremely vulnerable.

The other issue was previous methods of preservation in manuscripts past - the manuscript pages had been bound into a single large volume, with each folio mounted into paper windows. This mounting paper had aged poorly, shown in the image below. Over time, its acidic properties have led to it discolouring and becoming brittle – meaning some were no longer secure in the binding. Tension from the acidic border was also causing stress to the centre of each bifolio of the manuscript, increasing the risk of splitting. It was clear that the time had come to give the manuscript a more appropriate long-term home.

This is a photograph of the previous binding that the manuscript was house within, it is a half leather binding with brownish purple goat skin on the spine and corners and deep purple cloth on the boards. There is two lines of gold tooling along the leather edges at the spine and corners. The edges of the boards and spine are worn and the pages inside the binding are protruding from the edges, implying that the sewing has broken down. The book sits on a plain grey background.
Previous binding for Add MS 35021
This shows the inside of the binding, showing Bach’s prelude in C Major (the same manuscript is shown in Image 1), it is sitting inside the binding surrounded by the discoloured and acidic inlay paper which has gone from cream to brown.
Manuscript folios mounted in paper inlays inside (before treatment)



Conservation over time

Something that really made an impression in the course of this project was the changing approach to conservation over the years – understandable given evolving knowledge, the emergence of new technologies and shifting emphasis in professional standards. However, while treatment undertaken decades ago might appear questionable now, we are mindful that it was done with the best intentions given the tools and knowledge available at the time.

A good example is in relation to iron gall ink. There are very few ways to fully halt the corrosive effects of the ink and limiting the damage is often the only approach. However, one treatment that emerged in the mid-1990s involves an aqueous treatment, using a calcium phytate solution to neutralise the acidic iron content in the ink.

In recent years, the British Library has established processes for this treatment, but still it is not something to be undertaken lightly. While extensive testing prior to treatment ensures that both the structure of the paper and the ink will remain secure, nonetheless the process has the effect of washing the paper. Therefore, this results in the removal of dirt and accretions but also, potentially valuable but less obvious, evidence of historical use.  

The decisions are not easy, as weighed against the potential risk of sometimes losing potential sources of historical evidence, such as staining on the paper, is the risk of the manuscript deteriorating to such an extent that any kind of study becomes impossible.

Decisions

Given the iconic status of this manuscript, many people were involved in the decision-making and the project was a collaboration between curatorial and conservation teams. One objective that was clear was the new housing needed for the folios of the manuscript, which would keep them more secure.

In terms of treatment of the iron gall ink, we decided to take a cautious approach for now, and only apply the calcium phytate treatment to two folios, which suffered from different and more pressing issues from the others. These (which contained the A-flat major prelude and fugue, ff. 13 and 14), had been removed from the bound volume more than a century ago. At different points since then they had received conservation work of differing levels of invasiveness, including a coating of transparent heat set tissue applied to one side of the fugue and repairs along the fold of that page too. The aim in focusing a higher level of treatment on these particular folios was to stabilise the corrosive properties of the ink on one of the most problematic examples among the Well-Tempered Clavier manuscripts, and also to reduce some of the ill effects of previous treatments. This work would also make it possible to safely rehouse these folios in the same way as the others, removing them from their unsuitable temporary storage.

This shows Bach’s Prelude in A-flat major which is obscured slightly, appearing fainter to the other images of the musical scores – this is due to a thin layer of heat-set tissue which was previously applied to the manuscript which is unsympathetically covering the music. At the edge of the page a darker brown boarder can be seen, this is the acidic inlay paper which was then removed by conservation.
Prelude in A-flat major, f. 13v, showing coating of heat set tissue.

 

Conservation work begins

All our manuscripts are special and unique of course, and receive due care and attention to ensure their long-term preservation. Often there are particular manuscripts that are so iconic that you find yourself to be quite awestruck in their presence, this was certainly the case here and it was a wonderful moment when the volume containing the manuscripts was unpacked in the conservation studio. We took a moment to listen to the pieces as we looked at the score, we felt humbled in that moment as we contemplated the music that had inspired so many, as the notes on the page seemed to dance before us.

After thorough documentation and testing, treatment began by disbinding the volume and removing the folios from the acidic inlay paper; this was done mechanically using a poultice of sieved gelatine mousse. Whilst removing the old acidic paper mounts we uncovered the edge of the text previously covered by the inlay.

Bach’s Prelude in A-flat major during aqueous treatment. The image shows a close up of the corner of the manuscript under water, a reflection on the water’s surface can be seen. Held in place by the conservators hand, at the top of the image the handle of a metal spatula can be seen gliding under the edge of the cream manuscript, separating it from the brown acidic boarder.
Removing remnants of acidic paper mounts during the calcium phytate bath

Aqueous treatment of the two folios

The treatment of folios 13 and 14 was achieved in three stages: first the documents were washed then treated with calcium phytate and then calcium bicarbonate. This helped stabilise the corrosive properties of the ink and remedy some of the ill effects of the previous treatment. 

Prior to immersion, multispectral images of these folios were taken by our imaging scientist, ensuring we have a clear record of the manuscript prior to treatment. Multispectral imaging captures image data within determined wavelength ranges across the electromagnetic spectrum. It can be used to examine discolourations and staining, by comparing the "spectral fingerprint" of an accretion to a known chemical substance. It can also reveal things that are only visible on different parts of the spectrum and allow us to capture the true colours of the image to accurately assess any ink changes after treatment.

This shows a multispectral image of the manuscript, the image appears black and white. The media appears dark and various stains and accretions are visible and appear lighter.
One of the series of multispectral images

The existing condition of these particular folia made them a priority to treat in this way, but the experience of doing so will allow us to weigh in the balance the benefits or not of undertaking similar treatment on other folios in the future, should the degradation of the corrosive ink progress. For now, fragile inks on the other folios of the manuscript have been supported with a very fine toned Japanese tissue and gelatine using a low moisture technique. This was carried out over a light box to ensure any weakened areas of iron gall ink were spotted.

After Treatment

All the folios have now been housed individually in a more sympathetic, double sided mount. This rigid mount allows each page to be correctly supported and viewed in full and is suitable for both storage and exhibition display, minimising the need for handling or further work. The mounted folios were then stored in several bespoke acid-free phase boxes to offer additional protection on the shelf.

This image is of all the folios, stacked in a pile in their new rectangle cream mounts and cream inlays which have been cut to the exact size of the folios and adhered with a lightweight Japanese tissue along the edges. The mount is double walled, giving the manuscript a layer of rigid protection, and also allowing them to be displayed cleanly within their mounts as the cover/supportive board can pivot on the hinge attaching it to the window mount.
The conserved folios in their new mounts (after treatment)
This shows one of the musical folios inside a cream window mount and cream inlay paper. The inlay paper has been cut to the exact size of the folio, so the uncut edge can now be seen. The window mount has a bevelled window cut which frames the manuscript. The mounted manuscript sits on a plain grey background.
Prelude in G major (BWV , f. 23r, after treatment)

Conclusion

Thank you to the Leche Trust for their generous support which allowed the items to be conserved and ensured that the manuscripts themselves are now better preserved and protected for posterity.

The British Library’s responsibility as custodian of these iconic examples of Bach’s creativity involves finding a balance between protecting the physical manuscripts and finding ways for their appreciation by a wide audience. High-quality digital images are a key tool for providing access, but this conservation treatment will also make it possible for researchers to work with the original material where this is necessary – further enhancing our understanding of Bach’s creative practise. It is also now safer to exhibit these iconic collections beyond the reading room, in our gallery spaces, where you can join us and experience the real thing.

Samantha Hare and Chris Scobie

 

16 December 2022

Conservation of Maps in the digitisation project: Qatar Foundation Partnership – Part 1

The British Library Qatar Foundation Partnership (BLQFP) is a digitisation project that began in 2012 to create the Qatar Digital Library (QDL). For over ten years this free bilingual online portal has been fed from the British Library´s collections related to the history of the Persia Gulf and scientific manuscripts of the Arabic-speaking world. The items that are selected and digitised include India Office Records, maps, personal papers, catalogued and uncatalogued Arabic manuscripts, sound and video recordings, photographs and much more.

At the beginning of 2022, in the last part of Phase 3, 120 maps entered the digitisation workflow. One of the first stages of the workflow is conservation assessment, where items are assessed and stabilised for safe digitisation and handling. The majority of the maps needed minimal intervention, with only 5 needing a more interventive conservation approach. This blog will focus on the treatment of the following maps: IOR/X/3174, IOR/X/3150/2, IOR/X/9921, IOR/X/10065 and IOR/X/10066.

In order to organise our treatments, we divided the maps into 2 groups according to their similarity in manufacture, their condition and treatment strategy. The first group, which is the focus of the first part of this blog, included IOR/X/3174, IOR/X/3150/2, IOR/X/9921, and had a silk ribbon sewn on the edges of each map. The silk ribbon was placed to protect and give a nice finish to the edge of the maps, since all 3 have cloth as a backing support. We think this was placed because either the paper is too big, or small pieces of paper have been attached together, so the secondary support would give the primary paper support extra protection and ease handling. The silk ribbon protects the edge of the maps and helps to stop the fraying of the textile. We talked to the map’s curator from the Qatar team, Nick Krebs, and he mentioned the possibility that these ribbons were placed when the maps were at the India Office Records.

A map showing where the Tigris and Euphrates Rivers meet. The image shows that the silk ribbon is coming away in many areas around the map, particularly visible along the top and bottom borders.
IOR/X/3174 recto before treatment
The back of the map is blank, and the silk ribbon is clearly coming away from the map in certain areas.
IOR/X/3174 verso before treatment

On these 3 maps the silk ribbon was detached from the edges in some places, due to a broken thread that used to attach the ribbon to the map. Also, the ribbon was very thin and fraying, causing further losses. Apart from this, the general condition of the maps was good.

The silk ribbon is frayed and holey in areas.
Detail of the condition of the silk ribbon of IOR/X/3174

 

This close-up shows the bottom edge of a map, which is crushed and torn and has a detached silk ribbon.
Detail of the condition of IOR/X/3150/2

As paper and book conservators unfamiliar with the treatment of textiles, we took this opportunity to seek advice from the appointed textile conservator at the British Library, Liz Rose. This had the advantage of providing a moisture and solvent free application technique to the damaged silk ribbon, which can be easily damaged by the introduction of moisture. Liz Rose showed us how to prepare the adhesive on crepeline silk and nylon net in the following way:

The adhesive used was a mix 1:1 of two different Lascauxs: 408 HV and 303 HV. The first one dries hard, while the second is extremely elastic and dries tacky. Both are thermoplastic acrylics (AIC - Adhesives & Tapes, 2022), therefore a combination of these two is ideal for reactivating the adhesive with a hot spatula or with solvent (like acetone) to consolidate fragile textiles, depending on the condition of the item.

We prepared two different percentages of the 1:1 adhesive mix, 15% and 25%, to test which of the two had better results on a new silk ribbon. When we had the adhesive ready, this was applied with a brush to a crepeline silk and nylon net, provided by Liz Rose. Fortunately, the crepeline silk and nylon net were already dyed in different tones of green and we only needed to choose the best tone to suit the different ribbons.

Five pieces of crepeline rest on a map, toned in varying shades of blues, greens and browns.
Choosing the best tone of crepeline silk

 

Liz brushes on the adhesive to the crepeline using a large brush. She wears a white lab coat and other brushes and jars of adhesive rest on the table around her.
Applying the adhesive to the chosen crepeline silk and nylon net

Once the adhesive applied to the crepeline silk and nylon net had dried, it was cut to the desired size and heated with a hot spatula to mend the damaged parts of the silk ribbon. As mentioned before, we first tested it on a new ribbon and over cotton textile. From these tests, we determined the best percentage of adhesive to use was 15%, and the appropriate length of time to reactivate the adhesive was 1 minute. We observed in this test that the nylon net melted with both the new ribbon and cotton fabric if heated for too long and if the spatula was too hot. Also, we realized that the nylon net consolidation did not have good results when the consolidation needed to be folded back, due to the fact that some of these maps are oversized and folded multiple times. This was not the case with the silk crepeline, therefore we decided to use this, because we had better results with it being a more sympathetic material with the silk ribbon, and giving us the most satisfying visual result.

Rows of the crepeline have been applied to a white cotton and the new silk ribbon. These test pieces have been arranged in three columns, with writing indicating the percentage of 15, a temperature of 4 degrees, and reactivation times of 1 minute, 30 seconds, and 1 minute 30 seconds.
Tests over new silk ribbon and cotton textile

 

A person uses a tacking iron (a handheld heated spatula) to reactivate the crepeline silk on the test fabrics.
Tests over new silk ribbon and cotton textile

Treatment on the maps: IOR/X/3174, IOR/X/3150/2, IOR/X/9921

After completing tests on the silk samples, we dry cleaned the recto and verso of the maps and then the most damaged sections of silk ribbons were delicately removed from the maps by cutting the sewing stitches. Next, we consolidated the bond between the paper and the lining cloth using Japanese tissue and wheat starch paste.

An edge of a map which is torn and crushes, and shows fraying lining fibres.
Consolidation of the maps supports: paper and linen - before

 

An edge which is now in much better condition, with minimal fraying and crushed and torn areas repaired.
Consolidation of the maps supports: paper and linen - after

We then applied the pre-coated crepeline silk to the inside of the ribbon using a hot spatula to consolidate the fragile segments. The width of the crepeline consolidation was cut to fit in between the edges of the ribbon and its length was cut into small sections (no longer than 7 cm). We noticed that longer repair creates distortion. The crepeline segments were overlapped by 1 mm when it was necessary to cover a longer part.

A ribbon with fraying and holes.
Before consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk
The crepeline rests on top of the frayed and holey areas, just barely visible.
After consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk


The crepeline shows as a gridded texture in this close up.
A close up after consolidation.

In some cases, where the ribbon was particularly damaged, we also needed to consolidate the outside of the ribbon. This helped to further reinforce the zones where the ribbon was completely broken and the zones where the ribbon was folded as the map had been stored in this way.

As the ribbon was attached to the map folded, we applied the crepeline on the outer part on a folded ribbon. The pre-coated crepeline was folded and fitted over the original folded ribbon and then applied with the hot spatula one side at a time.

The edge of a map is shown with the ribbon beneath and the crepeline on top of the ribbon.
Silk crepeline applied on the outside of the silk ribbon

After consolidating the damaged ribbon, we then re-attached the consolidated ribbons onto the maps by sewing them back in place using a green silk thread, similar to the original.

A needle is threaded, and the ribbon is in the process of being sewn back onto the map.
Re-sewing the ribbon

 

A closeup of a map edge showing the ribbon back in place.
The ribbon sewn back on.

Finally, after documenting the treatment, the smaller maps (that fit flat in the storage drawer) were placed in a Melinex sleeve to protect them from frictions and limit direct handling. The oversized maps were placed in a blue folder to protect them from friction in the storage.

The map with the ribbon back in place.
IOR/X/3174 recto after treatment

 

The back of the map after treatment.
IOR/X/3174 verso after treatment

Stay tuned for Part 2!

Camille Dekeyser and Tania Estrada-Valadez

17 December 2021

Textiles in Ethiopian Manuscripts at the British Library

Eyob Derillo, Curator Ethiopic and Ethiopian Collections.

Little is known about the secrets that Ethiopian Christian manuscripts retain inside their covers.  In addition to the texts that cover the full range of topics, from religion to magic, or from poetry to medicine, the iconic bindings of Ethiopian manuscripts hold more than we might imagine. Distinguished by their hard wooden covers or elaborate tooled leather bindings, some codices have preserved historical textiles attached to the inner surfaces of the book boards. These rare fragments have been protected from environmental damage and are in excellent state of preservation.

It’s important to note that there are conservation challenges for this type of material, one of the main roles conservation plays is to limit damage by the effects of light, temperature and pollutants, whilst still providing public access to the manuscript collections.

As curator for the Ethiopian Collection I have been working towards uncovering the number of Ethiopian manuscripts in its collection that contain these textiles inside their bindings. Formed from three major acquisitions, the BL today holds more than 600 Ethiopian manuscripts. The Harley Library collection included the first accession of Ethiopian manuscripts in 1753. In 1846, another 74 codices were acquired from those collected by missionaries of the English Church Missionary Society.  The bulk, and the largest group of books incorporated into the collection, came from the punitive expedition to Ethiopia in 1868.  The Magdala (Maqdala) collection, resulting from the British expedition sent to Ethiopia in 1868, consists of 349 manuscripts from the royal library assembled by King Tewodros II (1855-68).

Separately, in June 2021, the results of a pilot research study conducted on textile pastedowns on the inner covers of 154 Ethiopian manuscripts held in Ethiopian repositories and Western institutions, including the BL’s, were presented at the “Textiles in Manuscripts” workshop. At this workshop, organized by The Book and the Silk Roads project at the University of Toronto and hosted by the Institute for Advanced Study in Princeton, 500+ participants explored the large variety of textiles from across Eurasia found inside books, covering manuscript paintings, in bindings, and on inner and outer covers. Many of the textiles found inside the Ethiopian manuscripts in the study were produced in textile centres in India, Europe, and the Near East and were part of Ethiopia’s engagement in vibrant Indian Ocean/ Red Sea trade networks, or brought as gifts. A striking Iranian textile dating from the 19th century can be seen in Fig. 1, and a Turkish brocade from the late 16th to early 17th century has been preserved in manuscript Or 534, Fig. 2.

A multi-disciplinary team of scholars including textile experts from the V&A and Manchester Metropolitan University is now in place to conduct an ambitious research project that will address questions arising from the information that can be uncovered from these textile fragments. The manuscripts date from the 15th to the 19th centuries. The project will work to reveal such properties of the textiles as composition and structure, that will assist researchers in determining their time of manufacture and place of origin. This information will strengthen the investigation of Ethiopia’s role in the global textile trade network, one that stretched from East Asia to Western Europe. The team will seek to understand the use of textiles in manuscript bindings from cultural, social, and artistic perspectives. One may ask whether they were a primary component of the binding process or added to the book as decorative elements? What was the role of imported textiles in society? Was there a religious meaning ascribed to them? An important aspect of this research is the use of textiles to date uncertainly dated manuscripts.  Finally, the project will help uncover changing socio-economic norms in Ethiopian society from the 15th to the 19th centuries.

Textile pastedowns preserved inside 15th- to 19th-century Christian Ethiopian manuscripts represent a rare collection of material evidence that will assist researchers and conservators in their work with late medieval and early modern textiles and objects from Ethiopia and across Eurasia.

Fig.1 Or 617 Discourses for the Festivals of the Archangel Michael, 1800-1899, British Library, Textile: Iran, woven, cotton ground with silk brocaded patterns, 19th century.

Fig.1 Or 617 Discourses for the Festivals of the Archangel Michael, 1800-1899, British Library,
Textile: Iran, woven, cotton ground with silk brocaded patterns, 19th century.

 

Or 534 Psalter of Christ, 1582, Textile: Turkey, woven silk 1570-1630, British Library OR 534

Fig. 2 Or 534 Psalter of Christ, 1582, British Library, London
Textile: Turkey, woven silk 1570-1630, British Library  OR 534.

 

Fig. 3 Or 646 The Miracles of Mary, 1739.

Fig. 3 Or 646 The Miracles of Mary, 1739.

 

Fig. 4 Or 634, folio 8v. The Miracles of Mary, 18th century. Ethiopian artists were also incorporating local and imported textile design patterns in their paintings.

Fig. 4 Or 634, folio 8v. The Miracles of Mary, 18th century. Ethiopian artists were also incorporating local and imported textile design patterns in their paintings.

Fig. 5 Or 9036 The Psalms, 18th century.

Fig. 5 Or 9036 The Psalms, 18th century.

Eyob Derillo

10 December 2021

Conservation of the Granville Archive papers

Veronica Zoppi, Conservator

General description:

The Granville Archive, recently acquired by the British Library, includes a vast collection of letters and papers relating to British national life in the 18th and 19th centuries. These papers had been unknown to researchers until their acquisition and shed particular light on the personal and political lives of aristocratic women of the period.

Two caches of these letters recently arrived in my care in the conservation studio, Add Ms 89382/3/1 and Add MS 89382/3/4. Add Ms 89382/3/1 contains Georgiana Duchess of Devonshire own private correspondence with her husband and discussion of the latest books and politics, perennial concerns about reputation, scandal and money. Add MS 89382/3/4 consists of the original letters of the Duchess to her daughter Harriet including the ‘Blood letter’, written with the duchess’ blood.

Before treatment image:

Blood letter and hair lock f. 6 in paper wrapper 

(/4) Blood letter and hair lock 6* in paper wrapper 

Assessment of characteristics, condition and risks during use:

When brought for conservation, the letters (written with iron gall inks), were housed unbound within two folders. Nevertheless, some letters retained evidence of past interventions. These include a sewing along the left edge or along the centre-folds, and gilded edges which suggests that they had been previously bound. Enclosed between the letters were three paper wrappers. Each contained a hair lock belonging to one of the Duchess’ children and to her sister.

The letters exhibited surface and ingrained dirt - especially along the edges -, discolouration, edge tears, and losses. Some of the seals used to close the letters had cracks. The hair locks, loose in their paper wrappers, were brittle. In their present state both the letters and the hair locks were not fit for use as they were at risk of further damage, loss, and theft.

Before treatment images:

Sewn pamphlet ff. 32-39

(/4) Sewn pamphlet ff. 32-39

1. Folio 6 sewn together with following folios

(/1) Folio 6 sewn together with following folios.

Hair lock f.6

(/4) Hair lock 6*

Hair lock f. 67 open wrapper

(/1) Hair lock f. 67 open wrapper

Before treatment images:

Folio 7 verso folds Hair lock f. 23 in wrapper and discoloration

Left: (/4) Folio 7 (verso) - folds. Right: (/4) Hair lock 23* in wrapper, with discoloration

Aim of the conservation treatment and Planning and decision-making process:

The aim of the conservation treatment, as discussed with the curators, was to make these collection items available to researchers for consultation and possibly for display in an exhibition.

The conservation challenge posed consisted of balancing the preservation of the integrity of these vulnerable items - including their material and non-material aspects and values - with their use.

The decision-making process took into account many aspects discussed and agreed with the curators and the cataloguer. Planning of the work involved a vast range of considerations including the condition of the items, their access requirements and frequency, intended uses after treatment, storage, available time for treatment and resources. Other considerations regarded the conservation needs of the items, the goal of the treatment and practical techniques for housing and mounting for the letters and the hair locks with their wrappers respectively. Expectations about the functionality and appearance of the items after treatment were also discussed.

Documentation and practical treatment:

The photographic and written documentation about the items’ materiality and condition recorded how the items were before treatment and will be used in the future, should these items will undergo further conservation treatment.

The practical conservation treatment was carried out using archival quality, durable and reversible materials which have been long used in conservation, such as for instance mounting boards and end-leaf paper.

The hair locks and paper wrappers:

For the hair locks a stabilisation technique was borrowed from the conservation of textiles and historic wigs, as it was considered the most unobtrusive and safest way to preserve these delicate items. A mock-up was prepared to test the stabilisation and mounting technique of hair before applying it to the collection items.

This technique consisted in arranging the hair locks on a polyester conservation net and stabilising them by weaving a polyester thread through several layers of hair at various depths. Once the sewing was complete, the net of each hair lock was then mounted by means of Japanese paper strips, between mounting boards, together with its paper wrapper.

Polyester windows on both sides were used for the paper wrappers as they retained evidence on both recto and verso, for instance the creases of their original folds, or handwritten notes. Because of their weight, each mounting board solution included two guards made of Japanese paper reinforced with linen on the left edge to be joined to the new binding through holes. The mounting boards were used because they offered rigidity during handling by researchers, thus avoiding damage to the brittle historical hair. The polyester windows enabled both hair and wrappers to be safely looked at without being touched.

Mounting images:

Flouting mounting for paper wrappers 6 and 23 Stabilisation of hair locks 6 and 23

Left: (/4) Floating mounting for paper wrappers 6 and 23. Right: (/4) Stabilisation of hair locks 6* and 23*

Sewing of hair lock 67

(/1) Sewing of hair lock 67*

The letters:

The surface cleaning of the non-written edges of the letters was carried out with a vulcanised smoke sponge and a soft brush to allow for a gentle cleaning of the paper supports. The smoke sponge has the additional advantage of trapping the dirt within its structure, without leaving residues in the paper support. For the tears repairs, re-moistenable tissue prepared with Japanese paper and wheat starch paste and methylcellulose as adhesives was chosen because it has the benefit of releasing a slow and controlled amount of moisture in the paper supports. This is especially useful in the presence of iron gall inks whose degradation speeds up with humidity. Japanese Kozo paper has long fibres, thus offered a strong bond with the paper support of the letters, has neutral pH and is stable over time. Losses that could cause further damage during handling were infilled with Kozo Japanese paper.

The cracks of the seals were assessed as being stable, that is, at low risk of further damage when handled carefully. For this reason, no treatment was considered appropriate.

Next, the letters were attached - staggered, with wheat starch paste - along their left edge to archival paper end-leaf guards. A pamphlet was sewn through the centre-folds with linen thread. The sewing thread used to keep some loose letters together, was cut as it was causing damage to their paper supports during handling, but was kept in place.

The Blood letter was given additional protection in a polyester pocket, because of its historical value and potential risk of damage during handling.

Where the text of some letters ran up to the central folds on both recto and verso, the end-leaf paper guards attached to the letters, were shaped to avoid concealing the text.

During treatment images:

Folio 7 verso Pamphlet ff 32-39

Left: (/4) Folio 7 verso. Right: (/4) Image 2. Pamphlet ff. 32-39

Folio 5 Blood letter Folio 7 with sewing kept

Left: (/4) Folio 5 Blood letter. Right: (/1) Folio 7 with sewing kept

The binding:

When dry, the guarded letters and the mounted hair locks and wrappers, were bound in two post-binders. This type of binding was chosen over others, because of its versatility. It allows for housing a

variety of letters and if necessary, for the easy temporary removal of the required letters or mounting boards should they be accessed separately - for instance for an exhibition.

After treatment images:

Gold tooled spine

(/1) Gold tooled spine

Bound letters on book supports

(/4) Bound letters on book support

Mounted hair  f. 6 after treatment

(/4) Mounted hair 6* after treatment

4. Mounted hair f. 23 after treatment

(/4) Mounted hair 23* after treatment

f.5 blood letter in Melinex f.7 verso after treatment

Left: (/4) f.5 Blood letter in Melinex. Right: (/4) Image 6. f.7 verso after treatment

Headedge with board compensators

(/1) Head edge with board compensators

Hair lock f. 67 mounted – recto Hair lock f. 67 mounted – verso

Left: (/1) Hair lock 67* mounted – recto. Right: (/1) Hair lock 67* mounted - verso

As a result of this conservation treatment, all the evidence and features of these unique and fascinating items were retained and relevant letters never disclosed before are now accessible to the public for the first time.

13 August 2021

Important information for email subscribers

Unfortunately, the third-party platform that the British Library uses for email notifications for our blogs is making changes to its infrastructure. This means that from mid-August 2021 it will no longer send notifications by email to subscribers. To find out when new posts are published we recommend following us on Twitter (@BL_CollCare), or checking the blogs page on the BL website, where you can also find out the latest from our other departmental blogs. 

We apologise for the inconvenience, and hope you will continue to find ways to keep up with our blog.

Collection Care Blog Team

 

19 July 2021

Conservation of Thurloe’s State Papers

You may have seen a recent conversation sparked by one of our ‘Before and After’ conservation posts on the Library’s main social media channels. This may have got you wondering how conservators decide on the best treatment methods for collection items. In this blog we are going to dive deeper into the treatment of the volumes pictured in the Before and After images, giving further insight into the many considerations a conservator makes when treating an item.

Conservators at the British Library have to balance the future use of the book with the preservation of historic evidence. In a working library like ours, books are used by readers and our treatments must take this into account. The set of manuscript volumes pictured in the recent social media post are an example of this decision-making process and posed an interesting yet familiar conservation challenge.

The Thurloe State Papers volumes I-VII date back to 1742 and arrived in our conservation studio in poor condition. Each book exhibited similar degrees of damage and deterioration including detached boards, loss of endbands, severely degraded leather on the spines, splits in the textblock with damage to the sewing structure, and very worn and abraded boards.

These are highly requested collection items, and without thorough treatment would no longer be available for reference. Enabling access to readers is one of the BL’s core purposes and our Conservation department works hard to facilitate public access to our national heritage by ensuring that our books are in good condition in order to be handled and read without risk of further damage to the bindings. 

 

The seven volumes photographed with their textblocks (rather than spines) facing us. The pages have a marbled appearance and six of the seven books have cotton string holding the books together.
Thurloe's State Papers Vols I-VII prior to conservation. All the volumes had detached boards with severely damaged edges and corners. In this condition they cannot be issued to readers.
A birds eye view of the top of the books' textblocks.
The top of the volumes showing ingrained dirt on the textblock and the loss of all the leather headcaps and silk endbands apart from a few remaining fragments.

 

Planning a conservation treatment involves a complex range of considerations from different fields including material and chemical science, preservation, historical context, value, ethics as well as the suitability of practical techniques and available time and resources. 

We follow a Code of Ethics which helps inform the process and to ensure that we are asking the right questions. Conservators use their professional judgement in combination with discussions with curators about the context of the items within the Library's historic collections and so it is a collaborative approach.

The most common form of damage that we find in Library collections is board detachment. This prevents books from being issued to readers due to the risk of damage to the textblock or loss of material.  There are a variety of causes of detached boards, including ageing of materials and general wear and tear from use.

Because a book is a physical object with moving parts, the action of opening and closing the boards can put a strain along the joint area, which can cause the covering material and sewing supports to break - resulting in detachment of the boards. 

There are various techniques used to reattach book boards.  Often, a volume needs to be 'rebacked' as part of the process of reattaching the boards; repairs are made to the textblock, sewing structure and endpapers and then new spine coverings are applied and carefully inserted under the existing leather on the boards. This process necessitates the removal of the existing spine coverings as it is often the case that strong and durable repairs cannot be undertaken without access to the spine of the volume.

An ideal conservation treatment would involve the re-use of original material wherever possible in order to minimise any aesthetic change to the item. When rebacking volumes it is our practice to, where appropriate, reattach the original spine pieces back onto the new spine. This retains the visual appearance of the book whilst providing a strong and durable repair. However, if the original material is too degraded to be reattached to the book - as in the case of the Thurloe State Papers - we need to consider other options.

 

An up-close images of the spine showing 'vol 1' on red leather and designs in gold.
The original spine leather was degraded and worn away with splits and cracks around the raised sewing supports as well as up and down the spine.
A close-up of the bottom of a spine of one of the volumes showing wear and tear.
Many of the endbands and headcaps were missing on all seven volumes. 

 

As you can see from the close-up photograph, the original spine leather was very thin, degraded and fragmented. It was also adhered directly onto the spinefolds of the textblock paper as part of the 'tightback' binding structure making them very difficult to remove intact due to their fragility.

If we did reattach these spine panel fragments they would, in a very short time, wear away through use and be completely lost to researchers now and in the future.  So whilst we couldn’t reuse the spine panels, we did carefully remove and store them with the collection item. This way, they are preserved along with the bindings for future reference.

 

The spine fragments have been placed on a piece of card and sealed in a polyester sleeve for protection.
The remaining spine fragments were too fragile to be reattached and have been stored with each volume in its protective box.

 

Sometimes ‘Before and After’ photographs can look like quite a dramatic change to the object, but in this case only the spines of these volumes required replacement. The original boards were reused even though they were severely damaged.  The worn-down board corners were rebuilt and re-covered in new leather. Along the exposed and abraded board edges, the original leather was carefully lifted and new leather inserted underneath in order to preserve as much of the gold tooled edge decoration as possible.

 

A close-up of the edge of a board.
An example of the damaged board corners prior to conservation.
A close-up of the edge of a board after repair--new leather has ben added.
Board corners after rebuilding and covering with archival calf leather.
A side of one volume showing the gold tooling in tact.
Where the board edges were exposed, new leather was carefully inserted underneath the existing leather whilst retaining the gold tooled edge decoration.

 

The materials used in our conservation treatments are selected for their proven archival qualities, strength and durability.  Materials such as linen fabric and threads, handmade paper and wheat starch paste have been long used in traditional bookbinding, as is the ‘rebacking’ process of covering spines with new leather or cloth and decorating with gold leaf.

Whilst considering how to carry out the finishing on the Thurloe State Papers, it was decided to use a simplified version of the gold leaf lettering and decoration. This was partly because we do not have the historic finishing tools used by the original binder to be able to replicate the decoration exactly.  Secondly, this hand craft is highly skilled and very time-consuming - and we have to justify the amount of time spent on decorating individual volumes when there are so many other books needing conservation in the Library.

 

An image of the spine following conservation.
Spine of Volume 1 following conservation treatment
An image focusing on the left board.
Left board of Volume 1 following conservation treatment

 

Conservators take great care to match the colours of new materials added so that they appear sympathetic to the existing material. In this case, the new spine labels were made of red leather and even the endband threads dyed to match the originals.

 

Endband sewing is in progress here, with a needle and orange thread being pushed through in a green, orange, green, orange thread pattern.
Primary endbands were sewn in plain linen thread followed by secondary endbands in silk, dyed pink and green to match the original thread found in the volumes.
The orange and green endband is complete.
The completed endband.

 

We enjoyed reading the range of comments these Before and After photos inspired. It’s great to see that so many people care about the preservation of historical books - and the range of comments show that not only that there are a huge number of factors to weigh up in making treatment decisions, but also that several different approaches could be used to achieve a similar outcome.

Conservators have to consider that books are mechanical objects, not just historic artefacts, and have moving parts that need to function in conjunction with each other in order for the book to be used. This is often dependent on the construction materials and methods used and is one of many other factors, such as historical context and the status of the object, which are taken into consideration when planning conservation treatments at the British Library.

If readers are interested in learning more about books as 'dynamic objects', there was a recent Institute of Conservation talk about this very subject, which you can watch on the Icon YouTube channel.

Keep an eye out for an upcoming blog post which will discuss more broadly the varying approaches to conservation decision-making in the Library’s Conservation department.

 

Volume I after treatment showing the new spine and one of the boards.
One of seven volumes of Thurloe's State Papers now fully conserved and able to be accessed in our Reading Rooms.

 

 

Vicky West ACR, Book Conservator

Nicole Monjeau, Preventive Conservator

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.

05 May 2021

Conservation for Digitisation: A collaboration with the Palestinian Museum

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

[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 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

[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

[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 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

[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 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

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

07 December 2020

Lotus Sutra Project: Storage Solutions

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.

The storage facility for scrolls at the British Library consists of white open shelving or glass enclosed wooden cabinets holding individually boxed scrolls.

Picture 1: Our storage.

Here a conservator is placing a scroll into a pigeon hole. Some of the cabinets have individual pigeon holes for each scroll with the shelfmark noted.

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.

Here a conservator is unravelling a scroll on a red desk with the aid of a scroll core.

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.

A comparison of two scroll cores: the core on the left is wider at 5.5cm while the core on the right is 3.5cm.

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.

A conservator is encapsulating a scroll fragment between two Melinex sleeves so the scroll lays flat.

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!

The clasp core design, which safely houses scrolls with the original rod still attached. The clasp core design, which safely houses scrolls with the original rod still attached.

The clasp core design, which safely houses scrolls with the original rod still attached. 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.

The foam tube which houses the detached original rod with the scroll. This tube is split open showing how the tape is threaded through small slits in the tube.

The foam tube which houses the detached original rod with the scroll. This foam tube is split open to reveal the inside.

The foam tube which houses the detached original rod with the scroll. 

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.