Collection Care blog

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

Left to right: Cordelia Rogerson, Christina Duffy, Gavin Moorhead, Julian Harrison

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

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

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

Congratulations to all the entrants, shortlistees and winners!

Christina Duffy

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

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

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

Parchment under raking light (Add MS 33597)

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

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

A parchment scroll (Add MS 32006)

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

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

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

Dr Cordelia Rogerson
Head of Conservation

We recently held a very successful public event sharing our conservation work in preparation for the British Library Magna Carta: Law, Liberty, Legacy exhibition. The exhibition marks 800 glorious years of Magna Carta since it was granted by King John of England in 1215. The conservation project involved removing six manuscripts from their frames and rehousing them for display. While they were out of their frames, the manuscripts were examined using various scientific techniques. High-resolution digital microscopy enabled incredible magnification of the iron gall ink and parchment which make up the charters. Here is a selection of the images captured of Cotton MS Augustus ii.106, one of the British Library’s two original Magna Carta manuscripts dating to 15 June 1215. Enjoy!

Imaging Scientist Dr Christina Duffy operating a digital microscope at the British Library.

Magna Carta 1215 (Cotton MS Augustus ii.106) – one of four surviving original 1215 copies.

Iron gall ink

Iron gall ink has been used since the middle-ages and is found on many of our most treasured collections including the Lindisfarne Gospels, Beowulf and Magna Carta. The main ingredients of iron gall ink include iron sulphate, tannins from oak galls and water. Overall the ink is in very good condition on this charter allowing us to appreciate the beauty in the detail of some of the initials.

Magna Carta 1215 detail.

Iron gall ink at 20 times magnification.

Iron gall ink at 30 times magnification.

Iron gall ink at 150 times magnification.

At high magnification we can see that some areas have experienced ink loss, but the Great Charter is still legible due to the remaining ink shadow left behind. Find out more about iron gall ink in a previous post here.

Magna Carta 1215 detail right side.

Ink loss at 30 times magnification.

Ink loss at 100 times magnification.

Ink loss at 200 times magnification.

Parchment

The parchment on which Magna Carta has been written is thought to be sheepskin. Parchment is an animal pelt which has had the hairs removed by liming or enzymatic action. It is then stretched and dried under tension creating a perfect writing surface with a thin opaque membrane. Below are some images showing damage to the  upper dermal layers of the parchment. Find out more about parchment here.

Magna Carta detail at the centre of the manuscript.

Damage at 30 times magnification.

Damage at 50 times magnification.

Damage at 150 times magnification.

You can find out more about this charter on the British Library Magna Carta resource page.

Christina Duffy (@DuffyChristina)

We’re delighted to announce that the conservation team behind the work done on the British Library collections in our latest exhibition Magna Carta: Law, Liberty, Legacy will be speaking at a public event on Friday 26 June 2015 18:30 - 20:30 to share their findings. Speaking on the night in the British Library Centre for Conservation will be Head of Conservation Cordelia Rogerson, conservator Gavin Moorhead, conservation scientist Paul Garside and imaging scientist Christina Duffy. Book your place here.

Join our project team of conservators and scientists on 26 June 2015.

The project spanned over three years in preparation for this year’s 800th anniversary of the 1215 Magna Carta and involved the reframing and scientific analysis of all of the Magna Carta charters held in our collections, including the two 1215 original versions.

Conservator Gavin Moorhead works on the 1215 Articles of the Barons (Additional MS 4838).

The team undertook an initial examination of the original frames to determine their structure and composition. At the event you’ll hear how probes were manually inserted into the frames to take samples of the air inside in order to determine what kind of micro-environment the charters were living in! The stability and compatibility of new materials, which would be used for mounting in the new frames, was ensured using infrared spectroscopy, pH tests, and lignin tests.

Mounting materials were tested before incorporation into the new frames. Join us to find out what the blue and red colours indicate.

With the frames removed the team had a rare opportunity to investigate the condition of the manuscripts using near-infrared spectroscopy and high resolution digital microscopy. Unpublished images of the ink and parchment at up to 200 times magnification will be shared with the audience.

What does 800-year-old ink look like at 200 times magnification? 

You will also delve deep into the exciting world of multispectral imaging and see versions of the charters and their seals under ultraviolet and infrared light. The incredible results of the text recovery project on the damaged 1215 Canterbury Magna Carta, from which much of the ink was lost, will be shared.

Once our tests were complete it was time to rehouse the charters – you’ll hear from our conservator Gavin Moorhead about the challenges and decisions required to mount for display one of the most recognised manuscripts in the world which would feature as the dramatic finale to the exhibition.

The British Library's London Magna Carta at our exhibition, Magna Carta: Law, Liberty, Legacy.

Don’t miss out on this great event and book your place now! We look forward to meeting you!

Christina Duffy

Senior Imaging Technician Kristin A. Phelps takes us behind the scenes of the British Library’s Imaging Services where there are several ongoing digital projects at any given time. 

Click here for an Arabic translation of this article, as translated by the Thesaurus Islamicus Foundation and Dar Al Kutub Manuscript Project.

Prior to the 14th Century, Byzantine artists who painted icons preferred to shun hubris and leave their works unsigned. Their work would be placed in churches to be seen and revered by thousands of the faithful over the centuries. Occasionally, an artist would sign their work with the phrase “Painted by the hand of a sinner.” This allowed the sacred value of the icon to remain unfettered by human presence.

Fast-forward to the modern world and a secular context: millions of digital images are accessed every day on websites of museums, libraries, archives and other collections. These images are taken by unseen photographers and are unsigned. The anonymity of the process allows for ‘pure’ and non-distracted understanding of the object by a viewer. But, who are these modern day artists who make invaluable works of art, faith and history accessible to all of us? How does their particular art form impact what we are able to view on our computer screens, tablets and smart phones?

To answer these questions we are going behind the scenes of the British Library’s Imaging Services where there are several ongoing digital projects at any given time. One project in particular, the Greek Manuscript Digitisation Project (GMDP), is working to digitise centuries old Greek manuscripts, some of which include illuminated portraits of the Evangelists executed by anonymous hands. The British Library’s third phase of the GMDP began in April 2014 and is scheduled to be completed March 2015 with a target of digitizing over 300 manuscripts, which is roughly equivalent to 120,000 images. The project has been funded by the Stavros Niarchos Foundation, the A.G. Leventis Foundation, Sam Goff, the Sylvia Iannou Foundation, the Thriplow Charitable Trust and the Friends of the British Library, among others.

The British Library’s Imaging Services currently employs eight full time photographers, or Senior Imaging Technicians, who represent approximately 110 years combined of photographic experience at the Library. While two of these photographers have been tasked with working on the GMDP, all of the photographers will work on the project at one point or another. 

The eight photographers come from a variety of backgrounds including more traditional photographic backgrounds as well as artists, a former school teacher, a former 3D graphic designer with a specialty in computer gaming and a former archaeologist.

Once a book is delivered to the Imaging Studio, the physical digitisation process can begin. Every manuscript is unique and its physical condition can vary widely. For this reason, a conservation assessment is being performed for each manuscript to be imaged for any of the digitisation projects. This written report guides the photographer responsible for the book to ensure that manuscript is returned in the same condition it was received.

 Once the assessment has been read and understood, the manuscript is set up for capture on a cradle. Many manuscripts can be photographed using an L-shaped cradle, designed by the Conservation Department, to allow photography without damage to the material. When the manuscript has been appropriately set up, it can be photographed in RAW format page by page utilising Phase One cameras with digital backs.

Once the images are captured, they are reviewed and edited in Capture One (minor adjustments only including cropping, straightening and exposure adjustments).  

Finally, the RAW files are processed into both Tiff and Jpeg files before being passed back to the various digital project teams for online publication.

Does this process sound simple and straightforward? It rarely is. Often times, a manuscript needs to be carefully propped up to become level, or has a page which is not flat. The photographer is then responsible for manipulating the manuscript with a very gentle and cautious manner to make the resulting image provide the best view of a page. In addition, items may be housed in glass which cannot be removed for imaging. Or, objects may be large and unwieldy or extremely small. Lighting conditions may need to be changed if the manuscript contains significant amounts of gold leaf decoration. And, of course, there are always physical adjustments of the camera position and settings as well as employing a variety of lenses. Throughout the process the photographers have to use their judgment and experience in order to “do no harm” and yield images that represent faithfully the original material. After observing everything which must be considered to photograph a manuscript, the question arises: are these professionals artists or technicians? The Library photographers themselves are split when it comes to answering this question. Half of them consider their particular type of photography an art form whilst the rest view it as form of scientific imaging.

No matter what the answer to this question is, one thing is certain. These photographers deliver an impactful and important volume of work to the digital masses. Scholars from across the world have advanced their research without the need to physically visit the British Library. Thousands of people are able to connect with global cultural and religious heritage with a click of a button.

Of course, the GMDP project is just one example of a common wider trend of museums, libraries and archives digitising their holdings for online publication. In Europe alone as of 2014, 87% of cultural heritage institutions had digital collections. ENUMERATE’s 2014 survey found that the most important perceived reason for digital collections was academic research, which points to the growing field of Digital Humanities. With all the new material available online, a visual revolution of the democratisation of knowledge is happening. Now a scholar is no longer hindered by the inability to travel afar to libraries and museums to see objects; instant access to manuscripts and 3D objects is only a click away. Scholarship is becoming more diverse because open access to online collections allows those who wish to see something to be able to do just that. In fact, in its still young life, the third phase of the GMDP has already been the focus of scholarly research as well as being used and shared by a number of New Testament and Patristic blogs.

Of course, none of this would be possible without the diligent and specialised work of the photographers at institutions like the British Library. But if you asked one of the British Library Imaging Services’ photographers about their role in the process you receive humble responses, not dissimilar to what you would have expected from the original “sinners.”

Kristin A. Phelps, Senior Imaging Technician

Use is one of the biggest risks to physical collections in a reference library and so it may be a surprise that the Collection Care department supports the recent introduction of self-service photography into general collection Reading Rooms.

Our approach to collection care is underpinned by a risk-based process whereby we balance the risks to collection items against 10 agents of deterioration (Preventive Conservation and Agents of Deterioration), one of which includes use.

At the British Library where the collection accommodates 625 km of storage, the simple act of requesting an item, having it delivered and being able to refer to it in a Reading Room can mean that it has been handled by 5 or 6 people as it moves around the building, or even the country if it is stored off-site in Boston Spa, West Yorkshire. Even with careful handling, this level of movement increases wear and tear over time and the potential for damage.

However, we believe there are benefits to the Reader and the Library in allowing photography for personal reference. If items can be photographed at the desk they are moved less, which minimises wear and tear and the risk of accidental damage.

 Every item is unique and requires special care when setting up for photography.

Many items can be used safely in reading rooms, even if they aren’t in perfect condition. We do have a policy of identifying items which are not fit to issue and have used the launch of self-service photography as an opportunity to reinforce this in staff training. For example, collection items should not be issued if they cannot be handled safely without suffering damage, or further damage, or where there is a risk of loss or partial loss to the item because of existing damage.

Once copyright and other restrictions are considered, decisions on what can be photocopied, photographed or scanned are made based on the condition, format and size of the item and the equipment or method being used to produce a copy. Photography using a mobile, compact camera or a tablet can be a safer form of image capture than photocopying, which requires increased handling. Self-service photography also increases the range of items and materials that can be copied safely as there are fewer restrictions on size and weight compared with photocopying and scanning where the maximum copy size is A4 or A3.

There are, however, risks with self-service photography which also need to be considered. Users may be tempted to take more photographs just because they can, regardless of whether they need them for reference. It is noticeable that when taking photographs, collection items are treated more like objects and the focus is often on obtaining a good image rather than considering the item itself. Photography is good at capturing small details or articles but if people want to refer to whole pages the self-service scanner may be a better option. There are also items which will always present challenges because their size, format or condition makes them unsuitable for any copying.

To address these risks we have listed 10 key points to bear in mind when using and copying collection items. These are included in the video below which provides an overview of self-service photography. The video is also available online here.

In the first phase of self-service photography we have concentrated on photographing printed books, newspapers and periodicals and have a produced a short video explaining how book supports can be a useful tool when taking photographs. 

We are now in the process of developing guidelines for the second phase of self-service photography which will extend the service to special collection Reading Rooms where the range of collection formats are more diverse and varied. Again, our starting point is considering the risks and benefits involved in photographing these items and reviewing the collection care videos we produced a few years ago (Collection Care videos).

Sarah Hamlyn, Lead Preventive Conservator

Two Hebrew manuscripts in their original bindings came to the conservation studio as part of our
conservation program. Both texts contain the work of Abraham bar Hiyya (d. 1136) who was a medieval Spanish philosopher, mathematician and astronomer.

Background history

Little is known about bar Hiyya’s life except that he lived in Barcelona. Although there are points of similarity with other medieval thinkers, his writings contain a mixture of Neoplatonist, Aristotelian and Rabbinic ideas, with original interpretations. He was often quoted by later authorities and accepted as authoritative. There was often no distinction between astronomy and astrology in medieval Spanish or Latin text. Astrology was consulted for such things as births, journeys, business and weddings. Abraham was the foremost scientific authority in Spain at this time and he was a firm believer on this aspect of astrology. Many of the terms invented by Abraham have remained current in scientific and mathematic Hebrew to the present (1).

Besides Bar Hiyya’s Tsurat ha-arets which was copied c. 15th century in a Byzantine style of Hebrew writing (ff. 2r-54v), Or 10721  contains  two additional treatises copied by other scribes in the 15th-16th century. The two other works are Torat emet imun by Zecharia ben Mosheh ha-Kohen ha-Rofe (ff. 1r-1v; poetry), and Sefer ha-osher (Book of wealth) a scientific treatise (ff. 57r-61v).

Right board of Or 10721.

Left board of Or 10721.

 

The first text was written by Abraham bar Hiyya and was one of the first Hebrew texts on cosmography. It is a short review of the ‘lands according to the seven climates’ - the chief source of geographical knowledge among the Jewish community at the time. Abraham bar Hiyya theorised that the Earth was at the very centre of the universe despite conflicting contemporary knowledge. The second text is a translation into rhymes of Bishop Marbod’s text (c.1090) ‘Liber Lapidum’- a tract on the medical and mystical qualities of precious stones. This text also considers astrological principles and the relationship between geology and the positions of heavenly bodies. The third (ff61v-62r) describes the restorative properties of the eagle.

The manuscript is written in iron gall ink and is attributed to a scribe who worked in Italy named Joseph ben Se’adyah Ibn Hayyim.

Or 10538 is a manuscript copied in Italy and dates from approximately the 14th or 15th century. It contains two treaties on astronomy and the Jewish calendar Sefer ha-Ibbur by Abraham bar Hiyya and Sod ha-‘Ivin by Yosef ben Yehudah Hazan.

Right board of Or 10538.

Left board of Or 10538.

This manuscript was copied in Italy approximately around the 14th or 15th century and was censored in the 17th century. Abraham bar Hiyya’s main astronomical work known as Hokhmat ha-hizayon contains two parts; the first part Tsurat ha-arets or ‘Shape of the Earth’, which is included in Or 10721, and the second Heshbon Mahalekhot ha-kokhavim or 'Calculation of the courses of the stars’ which incorporates a whole section on intercalation. The whole work is probably the first exposition of the Ptolomaic system in Hebrew and was the first complete textbook of astronomy in that language. In Or 10538 Abraham further considered the problems of intercalation to enable Jews to observe the festivals on the correct dates (2).

Both volumes contain texts from Abraham bar Hiyya and both have kept their original 14th or 15th century bindings. Even though the binding styles are completely different, they are both unique objects. We decided to take a minimal intervention approach preserving as many of the historic features and characteristics of these manuscripts as possible, and to allow binding features and intricacies individual to these bindings to be visible. Repairs to these volumes would be carried out in-situ, intervening as minimally as possible whilst allowing it to be accessed safely by a guided readership.

Conservation

Or 10721 - There was an increase in book production towards the end of the 15th century when paper became more readily available and also a greater demand for embellishment of finished books as they became more affordable to produce. This meant that binders had to create time-saving methods which led to the adoption of less durable techniques and materials. Despite this, when developing techniques for book conservation today, we can learn a great deal from medieval book structures as their continuing existence is testament to their strong mechanical techniques of production.

Left pastedown before conservation showing alum-tawed supports laced into boards and torn vellum.

When Or 10721 came to conservation it had missing areas to the leather exposing one of the sewing supports, a cracked and abraded surface, and a missing endband. The other endband was present but breaking away from the binding. One sewing support had broken in the gutter at both joints with the boards, which was causing the first and last sections to protrude from the boards (cut flush to the textblock) at the fore-edge.

A number of folios were loose with subsequent tears and crumpling to the edges. Where the vellum pastedowns had come away from the boards a section had torn away and was still adhered to the inner board surface. Rust from the metal bosses had caused burn holes in the first and last few folios, and the volume had surface dirt throughout.

Damage to leather spine: Thread remnants from the tail and head endbands showing damage from use and original lacing into boards.

 

Some of the damage that has occurred over time has exposed otherwise hidden codicological features which are of interest to the scholarship of bindings of this type. Therefore one factor in the treatment of this item was not to hide this evidence.

The treatment aims for this book were:

• To strengthen and stabilise the sewing structure and its supports
• To reconnect and repair the existing endband (head) and replicate its structure (tail)
• To support and reinsert loose folios and repair vellum pastedown
• To consolidate covering leather

The sewing supports were extended using linen thread which was frayed out and adhered to the wooden board. This repair in addition to repairing and reconnecting the endbands to their cores within the boards helped strengthen the opening of the boards and the connection of textblock to binding. It also helped to ease the sections back into the binding and prevent further damage to the paper where it protruded at the fore-edge.

Or 10721 spine after conservation.

Or 10538 is a manuscript written with iron gall ink on parchment with annotations and foliation in graphite. The binding is limp vellum with the double alum-tawed sewing supports laced into the cover and a foredge flap extending from the left cover. Writing is visible over the covering parchment. The binding has been sewn all along on two double alum-tawed supports with thick linen thread. These supports are crossed and laced into the cover in a triangle pattern. Remnants of alum-tawed ties were observed. There are no spine linings or adhesive on the spine which has a natural hollow. Paper labels are found on the spine and left cover.

We don’t know the exact date of the binding but we do know that limp vellum bindings were commonly used in Italy in the 15th century answering to the increased demands of the time. This is a non- adhesive structure, which relies on strong sewing and materials. On the textblock there are indications that it has been resewn: a central sewing hole is not used in the current sewing and there is evidence of a sewing support in the corresponding place on the spine.

Inside of right board showing alum-tawed supports which have been knotted together.

Inside of left board showing flap.

The covering parchment was severely damaged. Assessment showed that it was cockled, brittle, gelatinised, and stiff, with overall staining and abrasion. There was severe shrinkage and the foredge flap has been folded inside the left cover. The right cover no longer extends to the foredge of the textblock. Shrinkage resulted in tension which has contributed to loss of covering on the spine; 50% of the spine covering was missing. There were losses to the corners of the left cover and foredge flap joint. Paper labels on the spine were torn, lifting, and had losses. The sewing was in poor condition, with broken kettle stitches in the centre at head and tail.

Damage at the spine.

Spine after releasing the supports from the left cover.

The treatment aims for this book were:

• To strengthen and stabilise the sewing structure and its supports
• To repair the vellum cover and infill the losses keeping all the original features

The challenge was to repair the cover without disturbing the lacing paths and undoing the knots. The alum-tawed ties were carefully removed from the right board, leaving the knotted alum-tawed ties of the left board untouched. The spine was then carefully repaired using layers of Japanese papers dyed to match the original colour.

Right board after treatment.

Spine after treatment.

Our approach is always trying not to disturb the codicological features as we can not necessarily anticipate what future research may be looking for. It is always the challenge of book conservators to make items accessible to readers while preserving as much as possible. In this case it has been very satisfying to be able to preserve the individual features of these unique items and make them available to researchers. Of course the books still need careful handling, as they are not only the carriers of content but also of the history of the objects and the history of materials and techniques of the time.

By Mariluz Beltran de Guevara and Zoe Miller

Further reading

(1) Encyclopedia Judaica, Vol 1, 2nd ed, Thompson Gayle, 2007
(2) Medieval Jewish Civilisation, An encyclopaedia, Ed by Norman Roth, Routhledge, 2002

With the recent multispectral imaging of the burnt Magna Carta hitting the headlines following our blog post on the 800 year old Magna Carta revealing its secrets, there has been a lot of interest in the conservation work required to protect such items. The so-called “burnt” Magna Carta (Cotton charter xiii 31a) suffered fire damage in Ashburnham House in Westminster on 23 October 1731. This 1215 exemplification formed part of an exquisite library assembled by English antiquarian Sir Robert Cotton during his lifetime (1571-1631). Cotton’s library forms the basis of our collections at the British Library today, and a recent conservation survey of the burnt material has allowed us to categorise items based on their relative condition, enabling us to immediately identify items suitable for digitisation. This has vastly improved our workflow allowing digital access to a wider audience in a shorter time. 

This piece includes material from an article published by Taylor & Francis Group in Journal of the Institute of Conservation on 29 November 2013, available online at: http://www.tandfonline.com/doi/abs/10.1080/19455224.2013.815122#.VFDzZvmsWtB.

The burnt 1215 Magna Carta suffered fire damage and subsequent interventive treatment. The vulnerable wax seal of the charter melted and distorted in the intense heat. 

 

In the Ashburnham House fire a quarter of the manuscripts were either damaged or destroyed in the blaze, and attempts to extinguish it exacerbated that damage. The documents suffered shrinkage and distortion, bindings were carbonised, ink was lost, soot and dirt was ingrained, tide marks formed on the leaves, and parchment (animal skin) gelatinised. Gelatine is the brownish end-product of a rapid degradation of parchment collagen. Remedial work caused further damage with many of the manuscripts broken up and rebound during salvage. Incorrect reassembly impacted on the codicological history of many of the manuscripts. The darkened gelatinous material which formed along the edge of the parchment was trimmed away from some manuscripts. Unidentified fragments were gathered and put into drawers.

The collection was untouched until the establishment of the British Museum in 1753, where over the coming years invasive treatments were recorded. To separate the leaves which had glued together by gelatinisation, about 40 manuscripts were immersed in a hot aqueous solution (likely to be ethanol in water). Incisions along the parchment edges were made to allow the leaves to dry flat under pressure. Despite the efforts, leaves remained brittle and fragile. Inlaying of parchment fragments into paper was completed in 1856, but a huge number of fragments remained loose and unidentified. While the edges of loose fragments were protected by this inlaying method, over time the degradation of materials caused further concern. The brittle fragments were susceptible to break with every page turn, and acidic paper in heavy volumes tended to cockle preventing the volumes from closing.

Cotton Tiberius A. XII. Parchment fragments were attached to paper in the nineteenth century and incisions were cut along the sides to allow the leaves to lay flat.

 

Our conservators surveyed 243 items from the Cotton Collection, including 21 paper manuscripts. Items were graded on their physical, chemical and overall conditions based on an assessment of the state of the binding and parchment substrate, and thus rated for treatment priority.

Results of the survey of 243 Cotton Collection volumes. From Figure 2 and 5 in The conservation of the burnt Cotton Collection in the Journal of the Institute of Conservation, 2013

Pattern of damage where D (High degree of damage) accounts for 61% of the total items examined. From Figure 2 and 5 in The conservation of the burnt Cotton Collection in the Journal of the Institute of Conservation, 2013.

The nineteenth century treatments have been fundamental to the preservation of the Cotton Collection, and many items thought to be lost have since been rediscovered. The condition survey enabled us to quantify the damage and develop a strategy for the long-term preservation of the burnt Cotton Collection. Items identified as being fragile were immediately withdrawn from library use, while research to determine the best methods of stabilising and housing the items was undertaken. The use of analytical techniques such as near-infrared (NIR) spectroscopy for assessing the deterioration or parchment has enabled a better awareness of the nature and condition of these manuscripts. This information has helped to support the choice and realistic scope of conservation methods. In the case of the burnt Cotton Collection, the future project is now directed towards a preservation approach, including digitisiation and multispectral imaging, rather than an interventive conservation one.

Christina Duffy (@DuffyChristina), Imaging Scientist

Further reading

The conservation of the burnt Cotton Collection, Mariluz Beltran de Guevara and Paul Garside, Journal of the Institute of Conservation, 2013. Vol. 36, No. 2, 145 –161, http://dx.doi.org/10.1080/19455224.2013.815122

Collection Care fired up for BBC Four appearance, Christina Duffy: http://britishlibrary.typepad.co.uk/collectioncare/2013/08/collection-care-fired-up-for-bbc-four-appearance.html

Crisp as a Poppadom, Ann Tomalak: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2013/02/crisp-as-a-poppadom.html

‘Their Present Miserable State of Cremation' the Restoration of the Cotton Library, Andrew Prescott: http://www.uky.edu/~kiernan/eBeo_archives/articles90s/ajp-pms.htm

The Collection Care blog is a year old this week! It has been a wonderful 12 months for the blog, due largely to you, our loyal readers. Since fluid, food and flames are generally considered our nemeses, we'll hold off on the champagne and birthday cake. Instead, to celebrate, we have compiled a list of the top ten most popular posts. Boy, do we know how to party!

10. A-a-a-choo! Collection Care's Dust Busters: In this post we shared the work of our dust busting team who monitor dust in order to protect our collections. We took a look at what exactly dust is, and how to balance the benefits and risk of dust minimisation programs. Who you gonna call? Collection Care! 

9. Goldfinisher: He's the man, the man with the Midas Touch: Doug Mitchell is our book conservator and gold finisher extraordinaire. Doug demonstrated the blind tooling technique and showed us the variety of tools involved in the process.

8. Sea Snails & Purple Parchment: Did you know that the colour purple found in many of our manuscripts comes from sea snails? The snails are essentially "milked" to extract a gland secretion in a very labour intensive process. 

7. A Guide to BL book stamps: You've seen them on our collections and online, but what do they mean? Library stamps are generally divided into four types according to when they were in use, ranging from 1753 to the present day.

6. Digitisation as a preservation tool; some considerations: This post by Qatar Project conservator Flavio Marzo confronted the growing public expectation for online access. Marzo challenged the conservation community to use mass digitisation as an opportunity for the long term preservation of historical items and their features.

5. The Bookie Monster: attack of the creepy crawlies!: Here we delved into the underworld of pesky pests who seek to eat their way through our collections. We identified some of the primary culprits and showed examples of damage to look out for.

4. Cleaning and rehanging the Kitaj tapestry: What happens when creepy crawlies do successfully attack? This year we had to don our hard hats to remove the enormous R.B. Kitaj Tapestry If not, not from the St Pancras Entrance Hall for conservation cleaning. The tapestry was hoovered and frozen to remove all pests and surface dust before rehanging in the hall. It was a major operation and a complete success. We even made a time-lapse video!

3. Fail to prepare for digitisation, prepare to fail at digitising!: Digitisation is much more than just taking a picture. With mass digitisation projects being announced every month, we shared what we've learned when it comes to preparation. We listed five main outcomes of pre-digitisation checks, which highlighted the potential risks in each case.

2. Books depicted in art: Being surrounded by books everyday is all part of the day job for us here in Collection Care. As you can imagine, seeing books in paintings can be quite thrilling. In this lavishly illustrated post we saw that some historical paintings contain a wealth of information about bindings that were not well-documented in the trade.

1. Under the Microscope with the Lindisfarne Gospels: Finally, in our most popular post, we shared microscopy images of the Lindisfarne Gospels collected by our team during a condition assessment. At up to 200 times magnification the medieval artistry and attention to detail blew us all away.

Many thanks to all our readers from the Collection Care team. As ever, we are truly grateful for your following and are always keen to hear from you. Do let us know if there are any topics you'd like to read about, and don't forget you can subscribe to the blog at the top of this page, and follow us on Twitter: @BL_CollCare

Christina Duffy (@DuffyChristina)

The Ramayana – “Rama’s journey” – is one of India’s oldest stories having first being written some two and a half thousand years ago. It follows the hero Rama from his birth and childhood in Ayodhya to his exile in the forest where his wife Sita is kidnapped by the wicked (and ten-headed!) demon king Ravana. With his valorous brother Lakshmana and helped by an army of monkeys and bears he leads the search for Sita, finally rescuing her from Ravana’s stronghold in Lanka. It is an epic story embodying the Hindu idea of dharma (duty). There are several thousand known surviving manuscripts and many different versions of the story across Asia. The Mewar Ramayana is one of the finest copies of the work, lavishly illustrated with over 450 paintings in large format. Recent digitisation by the British Library in partnership with leading Indian institutions has reunited the long-separated text and it can be viewed online featuring an introduction including links to contextual documents and high resolution images in ‘Turning the Pages’ with descriptive text and audio.

We recently examined two paintings from the Mewar Ramayana using multispectral imaging to investigate the methods and workflow of the artist. Images are captured over fourteen spectral bands from the ultraviolet (UV: 365 nm) to the infrared (IR: 1050 nm) revealing information about underdrawings and techniques that can’t be seen under normal light. The two full page paintings are illustrations from Book 6 (Yuddhakanda, Book of war) of the Mewar Ramayana manuscript.

Book 6 fol. 27r (Add. MS 15297(1), f.27r)

Book 6 fol. 27r depicting the siege of Lanka in colour, ultraviolet, infrared, and blue light with an orange filter. Rama’s army of monkeys takes control of the four gates of the city as the ten-headed Ravana leads the defence after consulting his ministers.

Book 6 fol. 27r: Rama’s army of monkeys and bears hurl stones at their enemies. White pigment, possibly added as a later touch up, is observed under ultraviolet light on the elbows, arms and tails of the attacking monkeys.

Book 6 fol. 27r: Colour, ultraviolet, infrared sequence. In front of the gates to Lanka, a man struggles with a monkey. Under ultraviolet light the rough application of paint is evident on the man's hand where no attempt is made to stay within the lines. In the infrared image, the guidelines used to initially draw the figure (chest, back, elbow) are observed.

Book 6 fol. 27r: An archer fends off the monkey army. Incorporating high levels of detail in these paintings often led to a change in design layout. In the painting the archer is shown to be sitting cross-legged on the cart, but in the infrared image he is standing. The late addition of the cart is evident by the over painting of the wheel in order to indicate its attachment to the main frame of the cart. Other alterations were made such as the size of the soldier's orange foot in the top left, and the painting over of an isolated monkey tail on the horse's body in the bottom left.

Book 6 fol. 142r (Add. MS 15297(1), f.142r)

As the battle escalates Rama’s brother Lakshmana is seriously wounded by a spear. Hanuman the monkeys’ army general is sent to the Himalayas to pick up medicinal herbs.

Book 6 fol. 142r: Colour, ultraviolet, infrared, and blue light with an orange filter sequence of the painting.

Book 6 fol. 142r: Colour, ultraviolet, infrared sequence. Rama’s loyal brother Lakshmana is seriously wounded by a spear. In the ultraviolet image we can see touch-ups on the hands, arms and legs of the two monkeys trying to take the spear off Lakshmana. Under infrared light we can see underdrawings of the far left monkey who was originally positioned higher up.

Book 6 fol. 142r: Colour, ultraviolet, infrared sequence. In the ultraviolet image alterations to Rama’s clothing and the direction of arrows is observed. Under infrared light, the boat at the top of the painting with the three figures is shown to have been altered. It may have started out as a representation of deities in the sky similar to those seen in Mughal Mahabharata (Razmnamah) Or. 12076 f.76r. Other arrow positions have also changed.

Book 6 fol. 142r: In the infrared image, a different position for the ten-headed Ravana is shown to the right, where a single face in profile is revealed adjacent to a vertical line. This is completely obscured by the green pigment which we now see.

Multispectral imaging has proven a wonderful technology in allowing us to study collection items in new and exciting ways. These are just some of the observations made and we hope to share more in the future.

Christina Duffy (Imaging Scientist) and Pasquale Manzo (Curator Sanskrit)