In September 2022, I began a yearlong internship at The British Library in the conservation department. Prior to this I studied general conservation at Lincoln University, and whilst I enjoyed learning about all types of materials, once I started treating paper objects I knew that I had found my passion, and hopefully my future career.

My studies took place during the Covid-19 lockdowns, so my access to hands on conservation was limited. Entry-level conservation jobs often require a minimum of two years practical experience post training, so finding this internship felt something like a blessing. During my yearlong internship, I have been learning from expert preventive conservators, object, textile, book and paper conservators in a fully equipped conservation studio. This blog post will give an overview of my time spent during the first six months of my internship, beginning with the Exhibitions and Loans team, and then on the long-term bids team.

Img. 1: The BLCC purpose built main studio

 

Exhibitions and Loans 

The Exhibition and Loans (E&L) team within conservation deal with the treatment and condition checking of objects that have been requested for upcoming exhibitions, either internally at the BL or externally at other lending institutions, including touring exhibitions.

Condition checking and documentation is crucial to the culture of institutions loaning each other objects as record of the exact nature and degree of all damage is important to show that an object has not been further damaged during transit or display. I started on the Exhibitions and Loans team during the install of the Alexander Exhibition, where I was able to watch loan items from other institutions arrive, and to see how different conservators at a variety of institutions described and highlighted different types of damage. I also had the opportunity to assess and record the condition of individual items going out on loan and an entire touring exhibition on its return to the Library. This allowed me to familiarise myself with the specialist vocabulary used in book conservation, the various book structures, and the common types of damage.

I have learnt that putting together an exhibition is a truly collaborative process. During the install many different departments work together to ensure that the final exhibition is educational, contains the most relevant and beautiful objects, is enjoyable for visitors but above all that the objects remain safe, stable and undamaged. The E&L team play a massive role in this: they decide which items are in good enough condition to be displayed, undertake any necessary conservation treatments and decide how best to display objects.

I also worked on the Chinese and British exhibition; I mounted many flat items for display, learning various techniques that ensure each object is displayed at its best whilst being appropriately supported.

Img. 2: ink on paper map mounted with V-hinge technique so the hinges aren’t visible

Img. 3: ink on paper flat work mounted using Melinex corners and sides for additional support

In addition to mounting objects for internal exhibitions I also treated items for internal and external exhibitions, focusing on damage that could increase whilst in transit or on display or aesthetic damage to the display opening. The following are examples of items I have treated for exhibitions and loans.

Img. 4: Volume 10880.d.27 before treatment

Img. 5: Volume 10880.d.27 after treatment, including binding repair, leather consolidation and covering board corners

Img. 6: Volume 1258.k.5 pre-treatment

Img. 7: Volume 1258.k.5 post-treatment: consolidating leather and covering material, repairing delaminating board corners

 

Long-term bids

In the long-term bids team I have been lucky enough to have three different mentors with varied backgrounds leading to their slightly different areas of knowledge and expertise. This has been an amazing way of learning as I get to see a wider range of treatments and processes and different ways of approaching similar problems. I have learnt that there is no ‘one size fits all’ approach to conservation, each book is unique and various materials both deteriorate and respond to repairs differently. I explored which approach suited me best and chose the best method and materials for the treatment of every object. I have been able to learn and develop a wide variety of skills this way: tear repairs on flat works, books and scrolls; many applications for different gels; toning tissue; paring, toning  and consolidating leather; repairing board corners; binding repairs; sewing sections of a text block; sewing endbands; removing spine linings and more.  However, for the purpose of this blog I will detail the treatment of 118.e.5, and how I was able to develop the skills required for each treatment step.

Img. 8: Volume 118.e.5 pre-treatment

The tail endband had become partially detached and the endband and spine were dirty. I began with surface cleaning to improve the appearance and to ensure repair materials would adhere sufficiently.

I attended a gels course run by three British Library conservators where I learnt how to make a variety of gels at different concentrations and experiment with their suggested applications.

Img. 9: The different gels tested during the gels course

Img. 10: experimenting with a variety of gels to reduce different types of stains

Img. 11: Endband during cleaning with Konjac & Xantham

Img. 12: Endband and exposed spine after cleaning

I selected Konjac and Xantham gel to clean the spine and endband by applying it as a poultice, leaving for a few minutes and then removing the poultice, which was very effective. The endband was now ready to be reattached!

I learnt to sew endbands whilst making a sewing model, which furthered my understanding of the structure and purpose of the endband.

Img. 13: Sewing model endband

I learnt to reattach endbands by observing my mentor completing an endband repair to a volume where the head and tail endbands were detaching. This enabled me to take photos and make detailed notes before repairing the other endband, giving me enough confidence to carry out similar treatments more independently in the future.

Img. 14: endband fixed into original position and endband markers mark each

I fixed the endband into its correct position using a piece of Japanese tissue adhered with wheat starch paste before marking the centre of each section I planned to sew through. After the first stitch, I tied a knot on the outer side of the spine to secure the thread.

Img. 15: endband sewn back into original position

I then sewed underneath the endband core, back over the top of the endband and then back through the textblock, with a linen thread that closely matched the original white thread.

Img 16: The repair stitches

Now secured, the next step was to reform the head cap using archival calf leather.

I had no experience working with leather prior to my internship, but have quickly learnt that each leather is different and that paring leather takes a considerable amount of strength! My first attempts at paring leather were thankfully on strips of off-cut leather as they were not pretty, though I’m assured it’s a skill that requires much practice to perfect.

Img 17 : The spine edge and head edge of volume 118.e.5 after treatment

After paring and consolidating the leather, I adhered it to the spine using wheat starch paste.

I loved working on this book, having confidence in my ability to complete each step made me feel like a real, fully-fledged book conservator, and I was really happy with the outcome of the treatment. I am learning more and more by the day and whilst I will be sad to leave the long term bids team, I am excited to join the preventive team before returning to the studio to focus on binding structures. If you’ve found this an interesting read, I will be writing another post detailing my time on future teams so watch this space !

Following part 1 of the Conservation of Maps in the digitisation project: Qatar Foundation Partnership, this second blog post will present the treatments of two maps belonging to the IOR collection of the British Library: IOR/X/10065 and IOR/X/10066. Similar to the maps presented in the first blog post, these maps also have cloth as a secondary support. In these cases, the maps were fragmented and lined on a cloth support which allowed them to be folded (picture 1 & 2). A difference with the first group of maps is that they did not have textile or silk ribbons on the edges.

Picture 1: IOR/X/10065 recto before treatment

Picture 2: Detail of the joints (cloth) that allow the folds of IOR/X/10065

These two items had the same main damage. The substrate, a paper lined with cloth, was broken or weakened in various areas of the joints where the maps used to be folded (picture 3 & 4).

Picture 3: Upper part of the IOR/X/10066 recto before treatment

Picture 4: Detail of IOR/X/10065 with broken joints

 

The paper support on the IOR/X/10066 map is thicker and distorted, with the distortions possibly caused by its large format and the broken joins no longer creating tension (picture 5). On both maps, there were small paper tears and folds around the edges. There were also loose threads due to the fraying of the cloth along the edges (picture 6). The condition of both maps made handling and digitisation very difficult, especially due to their oversize format, IOR/X/10065 measuring 1014x750 mm and IOR/X/10066 1235x1073 mm.

Picture 5: Upper part of the IOR/X/10066 verso before treatment

Picture 6: Detail of IOR/X/10065 fraying

 

Decision making

The aim of the conservation treatment was to stabilise the items to function in their current role and to ease handling for the next stages of the workflow: cataloguing and digitisation.

For the decision-making process we considered the condition of the maps and their original use, to be folded and unfolded many times when used. In addition, minimal intervention, re-treatability and fit-for-purpose, principles from our guidelines, were taken into account, as well as the 5 hours limit for the treatment of each item.

 

Selecting and preparing materials for treatment

Our treatment proposal was then focused on re-establishing the ability to fold the maps which is convenient for handling and storage. We decided on using a cloth lined with Japanese tissue for the joint repairs, similar to the construction of the maps.

 

Selection of the cloth

A thick Japanese tissue would not be enough to repair areas that are to be folded multiple times. We decided on Aerocotton, a material commonly used by book conservators to reinforce book joints which is a light but strong cloth. The cloth was washed with hot tap water before its use to remove any possible sizing and additives.

 

Selection of the Japanese tissue

We chose an 11g/m² Japanese tissue with kozo fibers, which is strong and thick enough to give support to the cloth and the tear repairs.

 

Lining the Aerocotton

Aerocotton is difficult to cut after washing, (see picture 7). Therefore, it was lined using Japanese tissue and wheat starch paste (WSP). This helps to stiffen the Aerocotton, with the Japanese tissue working as a support to make it easier to handle and to limit frayed edges. The cloth lined with the paper was left to dry on a wooden board similar to a karibari, to ensure it dried with tension (picture 7).

Picture 7: On the left Aerocotton dried after washing and on the right lined Aerocotton with Japanese tissue

A second lining of Japanese tissue (11g/m² with kozo fibers) was pasted to the lined cloth strips, since it reinforced the repairs without adding any thickness. This was carried out again on a wooden board. A plastic strip was placed between the board and the strip. This would function as a barrier and prevent a section of Japanese tissue strips adhering on the board. This way, our second lining dried stretched on the board as it protruded from the plastic strip like it would on a karibari, (video 1).

 

Video 1: Preparing and applying the second lining of Japanese tissue on the lined cloth strips

 

Once the Japanese tissue was dry, we lifted them from the karibari with a bamboo spatula. The plastic strips delimited the area that we used to paste on the map. Finally, we cut them with a water brush so that the edges had a water-cut finish: this gave a stronger attachment to the tear repairs when pasted on the maps, (pictures 8 and 9).

Picture 8: Cutting the edges with a water brush

Picture 9: Close-up of the prepared strips

 

 

Treatment

Once the materials were ready, we placed the maps on a blotter and Bondina, verso facing up. Because the maps were of a large format, we treated each half separately. Once they were dry, we reattached them together.

For both maps we squared and positioned the fragments of the maps carefully, leaving 3mm space gap for the joints, and kept them in place under weights. Wheat starch paste was applied with a noribake to the prepared strips previously placed on plastic strip. This made the handling easier and the application on the joint to be repaired. Once the strip was on the map, we applied some pressure with a shirobake over the plastic strip. The plastic strip was then removed, leaving the prepared strip on the map and we applied more pressure with a nadebake and with a Teflon spatula. It was left to dry with a Bondina, blotter and weights on top, (video 2 and picture 10).

Video 2: Pasting the prepared strips on the tears of IOR/X/10066

Finally, strips of Japanese tissue (7.3g/m² with kozo fibers) were applied on the joints of the recto of the maps to reinforce the hinge on both sides of the map, (picture 11).

Picture 10: Detail of the Aerocotton lined with Japanese tissue applied into the verso of IOR/X/10065 to mend the tears

Picture 11: Detail of the Japanese strips applied on the same map

 

Results

This treatment was successful on both maps. They can now be handled and stored safely. See video 3 and after treatment pictures 12 and 13.

Video 3: Handling both maps after treatment

 

Picture 12: IOR/X/10065 recto after treatment

 

Picture 13: IOR/X/10065 verso after treatment

 

Picture 14: Upper part of IOR/X/10066 recto after treatment

 

Picture 15: Upper part of IOR/X/10066 verso after treatment

 

Tania Estrada Valadez and Camille Dekeyser

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!

Painting of a killer whale

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.

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.

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.

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.

Left leather join split.

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.

Left board after treatment.

 

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.

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.

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 display page pre-treatment

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.

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.

The binding repair during treatment

Damage to binding

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.

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.

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.

Section markers

The endband pre-treatment

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.

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.

Prelude in C Major (before treatment)

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).

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.

Previous binding for Add MS 35021

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.

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.

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.

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.

The conserved folios in their new mounts (after treatment)

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

 

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.

IOR/X/3174 recto before treatment

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.

Detail of the condition of the silk ribbon of IOR/X/3174

 

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.

Choosing the best tone of crepeline silk

 

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.

Tests over new silk ribbon and cotton textile

 

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.

Consolidation of the maps supports: paper and linen - before

 

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.

Before consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk

After consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk

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.

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.

Re-sewing the ribbon

 

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.

IOR/X/3174 recto after treatment

 

IOR/X/3174 verso after treatment

Stay tuned for Part 2!

Camille Dekeyser and Tania Estrada-Valadez

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 19^th century can be seen in Fig. 1, and a Turkish brocade from the late 16^th to early 17^th 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 15^th to the 19^th 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 15^th to the 19^th centuries.

Textile pastedowns preserved inside 15^th- to 19^th-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, 19^th century.

 

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

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

Eyob Derillo

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:

 

(/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:

(/4) Sewn pamphlet ff. 32-39

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

(/4) Hair lock 6*

(/1) Hair lock f. 67 open wrapper

Before treatment images:

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:

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

(/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:

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

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:

(/1) Gold tooled spine

(/4) Bound letters on book support

(/4) Mounted hair 6* after treatment

(/4) Mounted hair 23* after treatment

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

(/1) Head edge with board compensators

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.

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

 

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. 

 

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.

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.

 

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.

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 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.

 

An example of the damaged board corners prior to conservation.

Board corners after rebuilding and covering with archival calf leather.

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.

 

Spine of Volume 1 following conservation treatment

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.

 

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 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.

 

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

Paul Garside & Zoë Miller

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

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

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

[Figure 2] The effects of IGI corrosion.

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

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

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

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

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

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

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

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