Collection Care blog

My name is Ana, and I am delighted to introduce myself as the conservation intern at the British Library Centre for Conservation (BLCC). I began this enriching journey in March 2024, and since then, I have been gaining invaluable experience in the field I am deeply passionate about: book conservation. 

Allow me to provide a brief overview of my professional background. In 2020, amidst the onset of the COVID-19 pandemic, I completed my BA in Conservation of Cultural Heritage at Complutense University of Madrid, Spain. During my studies, I developed a strong interest in book conservation, which I further specialized in through a Graduate Diploma and an MA in Conservation Studies of Books and Library Materials at West Dean College in the UK. 

Upon completing my academic training, I was thrilled to embark on this professional chapter at the British Library. This Funded Conservation Internship has been a remarkable opportunity to work alongside leading experts in the field, enabling me to establish my career within such a prestigious institution. 

A distinctive feature of my internship was its rotational structure. Approximately every six weeks, I transitioned between various teams, which allowed me to collaborate with different professionals, learn from their diverse expertise, and gain a comprehensive understanding of the operations within the BLCC’s departments, which significantly enhanced my professional development in book conservation (see Fig. 1).

Fig. 1: Ana working on an illuminated Persian Manuscript as part of her internship at the British Library

I have had the opportunity to work on a diverse range of projects, including the conservation of three small children's leather books, a 15th-century Persian manuscript (see Fig. 2), a 19th-century Daoist Rituals manuscript, and six notebooks belonging to G.K. Chesterton.

My work has also involved the preservation of Arakanese Buddhist manuscripts from the Murray Collection for digitisation, as well as volumes from the Adam Matthew Digitisation Project.

Additionally, I rebounded a volume from the Cotton Collection containing fire-damaged pages from the Ashburnham House fire of 29 October 1731.

I have also collaborated with colleagues from the Preventive Department on the preparation of the Medieval Women exhibition and assisted in the conservation and preparation of various items for a touring exhibition. 

Fig. 2: Ana testing pigment solubility on an illumination from a Persian manuscript

Working on such diverse items and alongside experienced professionals has allowed me to deepen my knowledge of various materials and different conservation techniques through hands-on experience. This has refined my decision-making skills, enabling me to approach new projects with greater confidence, adaptability, and a more strategic perspective, while also fostering greater independence in my work. 

As my internship comes to an end, I feel more confident in my conservation skills and look forward to applying this newly acquired knowledge to future projects and experiences at the British Library as a book conservator and a contributing member of the team. I extend my heartfelt gratitude to the British Library and my line manager, Zoë Miller, for this incredible opportunity, and to Dr Lars Atkin, whose generous support made this dream possible. 

I will forever be grateful for the experiences and knowledge gained during this internship, and I look forward to carrying these lessons with me throughout my conservation career.

In the British Library / Qatar Foundation Project, the Conservation team works closely with the Imaging team. In Phase 4 of the program, new challenges emerged, such as the presence of oversized, attached foldouts in books. These foldouts present unique challenges not only for the Conservation team in terms of handling and treatment but also for the Imaging team when handling and digitising. As the number of foldouts increases within the collection, the Conservation and Imaging teams have worked together to reassess the risk of damage during the digitisation process and handling. 

In a skills-sharing workshop held this March between the Conservation and Imaging teams, one key issue discussed was the difficulty of practically supporting oversized, attached foldouts during digitisation in a standardised, quick, and stable manner. This workshop offered an opportunity to brainstorm solutions and initiate a collaborative effort to create a tool to address this problem by combining the expertise of both fields. Past collaborations between Conservation and Imaging within this project have already yielded innovative tools, such as the widely used book cradle support designed and built by Flavio Marzo.

Fig. 1 Example of an attached foldout

Previously, imaging technicians used an ad hoc technique for supporting oversized, attached foldouts during digitisation. This involved cutting smaller foam pieces, assembling them into a larger structure, and placing photography paper on top to create a stable surface. These structures were improvised on the spot, leading to inconsistent results and varying preparation times. 

After reviewing previous methods and studying the digitisation process for oversized foldouts, the team documented key details such as item positioning, available space, options for secure support, and the unfolding process for foldouts. With these factors in mind and following several meetings and discussions with the Imaging team, Conservation proposed a new model designed to standardise the process, offering greater stability and efficiency suitable for a large-scale digitisation project. 

The main principle of the proposal involved creating two L-shaped foam pieces positioned around the item, with an extension piece to form a surrounding C-shape. The idea is that the L-shape would have enough width to compensate for any gaps in between when the foldout is unfolded.

Here is a simple model of the initial idea: 

Fig.2, 3, 4, 5: L-shapes placed around the item with and without extension piece, and with and without foldout

After finalizing the design, I began cutting the foam into the L-shapes with Armando Ribeiro, the Senior Imaging Technician leading the collaboration from the Imaging team. We decided on two foam thicknesses—12 mm and 28 mm Plastazote foam from Preservation Equipment Ltd (PEL)—to keep the process straightforward and efficient. By working with just two thicknesses, it became easier to estimate and adjust the necessary height, simplifying preparation.

Fig. 6, 7: Using previously cut foam blocks as template for next batch and making incision marks on the foam to prepare for cutting.

Fig. 8, 9: Visible incision lines on the foam blocks ready to be cut and cutting foam with template above the block using ruler and knife.

With the foam pieces cut, we trialed the new system using an IOR/P book, a common type in this phase of the project. The L-shapes fit neatly around the item, and the small extension piece could be slid into place for additional support as needed. With pre-cut foam blocks, the setup required no additional preparation—just arranging the foam pieces around the item and stacking them until reaching the desired height to match the foldout’s location. However, during our first trial, we found that for longer and wider foldouts, maintaining stable support on all sides was challenging.

Fig.10 a, b, c, d and e Series of stacking and using new tool with IOR/P collection item with a large, attached foldout

We returned to the drawing board to address this issue and collectively decided to add a larger rectangular support piece to the system. This piece would be used for much larger foldouts (A3+), placed alongside the L-shapes to create a uniform platform better suited to these oversized items.

Fig.11, 12: Updated model of L-shape system with additional larger foam piece and with foldout using large foam piece.

Fig. 13, 14: Preparing structure with the updated model adding the large rectangular piece, and an oversized attached foldout successfully folded out and supported with photography paper underneath.

After testing the updated model, we found it successfully supported larger foldouts. To demonstrate this, Armando took test shots to compare the captures of attached foldouts using the old system during digitisation and after, implementing the use of this tool to demonstrate the difference. Alongside the demonstration shots, we also made two short films demonstrating the practicality of the new approach compared to the previous method.

Fig.15 a, b, c and d Previously used system for attached oversized foldouts (this example is excluding photography paper usually placed on top of the foam to create an even background)

Fig.16 a, b, c and d New system using standardised shapes (this example is excluding photography paper usually placed on top of the foam to create an even background)

Please watch these two videos demonstrating the previous set up preparing attached foldouts and the new setup :

Old setup video:

New setup video:

With the new system, Imaging technicians could place the foam pieces quickly and directly, without constant adjustment to their setup. The three distinct shapes provided a clear, consistent structure, allowing them to work with greater speed and confidence. This tool allowing a streamlined, standardised process is proving  to be particularly valuable in a fast-paced, mass-digitisation environment, where efficiency is essential. 

Collaboration between Conservation and Imaging teams has proven invaluable in the development of this tool. By combining our unique skill-sets and insights, we were able to create a solution that not only enhances efficiency but also leads to a much safer handling practice, providing stability for collection items throughout the digitisation process.  

Collaborations like this foster a deeper understanding of each team’s needs and challenges, inspiring innovations that improve workflows and generate new tools for future projects. I’m thrilled that this collaboration resulted in a more stable, user-friendly support system, safeguarding valuable collection items during digitisation.  

This tool is now also being utilised by other teams within the project. In Conservation it is being used to support treatments of attached foldouts, providing a lot more stable setup and platform for e.g. treatments involving weights. Map curators in the cataloguing department are also benefiting from this tool when studying and cataloguing large, attached maps. 

As noted in some of the previous posts in this blog (Textiles come in all shapes and sizes at the British Library - Collection Care blog), various textiles, as well as objects containing textiles, are present within the Library’s collections. Coming fresh from my recent postgraduate training, I consider myself fortunate to have spent these past few months at the British Library gaining professional experience in textile conservation and learning from my paper conservator colleagues. I have been privileged to work on some interesting and, in the case of this particular project that I am going to talk about in this post, the most charming textiles in its collections.

The book, Instructions on Needle-work and Knitting, (C.194.a.371) was printed in 1832 in Westminster, London as an educational instruction manual, complete with instructions on stitching and garment-making techniques accompanied by finely crafted miniature garments and samplers. Due to poor storage conditions at some point in its lifetime, dirt had accumulated on the sides of the textblock. There were gaps between some of the pages in the textblock due to the bulkiness and irregular shapes of the textile samples, so some of the dirt had fallen through these gaps. The samples were stitched onto the pages of the book, creating holes on both textile and paper and pinning the samples down in a way that restricts both their movement and the reader's view.  In addition to the creases formed from being pressed flat, some of the samples were in a position that distorted corners or created additional folds (Fig. 1).

Figure 1. Green dress sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment. Positioned too close to the page’s top edge and gutter, The shoulder straps were distorted and the skirt was creased.

The conservation treatment focused on making the textile samples cleaner and the book fit for purpose as a library material under BL restricted access. As part of the Library’s collection, the book is expected to be handled by readers in the future, so the final product needs to be sufficiently robust for handling while giving adequate access for examination and study.

In preparation for the treatment of the samples that needed cleaning, they were taken out of the book to avoid the risk of damaging the paper in the process. Much dirt was removed by gently tamping the fabric with pieces of cosmetic sponge (Fig. 2 and 3). 

Figure 2. Samples from the book Instructions on Needle-work and Knitting (C.194.a.371) and pieces of sponge used in removing surface dirt.

Figure 3a. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before surface cleaning.

Figure 3b. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after surface cleaning.

After confirming that the dyes were washfast, the green dress and the sampler with red embroidery threads were further cleaned using an aqueous detergent solution. In addition to removing dirt, wet cleaning the dress (Fig. 4) provided the opportunity to relax the skirt and redistribute its fullness so that it fits within the width of the textblock. For the miniature sampler (Fig. 5), wet cleaning reduced some of the foxing stains on its ground fabric. 

Figure 4a. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 4b. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

Figure 5a. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 5b. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

Moisture, in the form of fine mist, was gently applied to the crumpled frills of the baby’s cap (Fig. 6), just enough for the fabric to recover some flexibility for reshaping.  

Figure 6a. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before humidifying and reshaping its frills.

Figure 6b. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after humidifying and reshaping its frills.

I thought about how to put the samples back in the book because, while stitching is usually compatible with textiles, it would mean either creating more stitch holes on the paper pages or making the existing holes larger and the attachment less secure. I took inspiration – and a few materials – from paper conservation, and prepared some hinges made of thin cotton fabric lined with Japanese tissue using wheat starch paste. This would allow me to stitch one end of the hinge to the textile sample and paste the other end to the page.   

Figure 7. Testing the textile-paper hinge on a mockup.

After discussing my proposed method with my manager Liz Rose and the curator Catriona Gourlay, I proceeded with reattaching the samples with textile-paper hinges, each cut to an appropriate size and attached according to the size and shape of the samples and available space in its assigned page. This way, the samples are adequately secured into their places while having some degree of freedom for the reader's examination (Figure 8). 

Figure 8a. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment.

Figure 8b. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), after treatment.

Gee Roxas, Textile Conservation intern 2023 - 2024 

When IOR/F/4/1767 was added to the British Library Qatar Foundation Programme (BLQFP) digitisation workflow, it immediately aroused curiosity. 

The volume itself is large, heavy, and fascinating. Its sheer weight, combined with the multiple areas of damage, made it difficult to handle properly. At first, I found myself puzzled—unsure of how to organise my workspace or where to begin the condition assessment. As a result, the book sat for a few days in the studio, waiting for me to gather my thoughts and decide how best to proceed. 

But IOR/F/4/1767 is no ordinary item. It's a piece of history that sparks the imagination. It's more than just a document to be conserved, catalogued, and digitised.

Img. 1: IOR/F/4/1767

Looking at this volume, I don’t just see a book—I see an ancient grimoire, filled with secrets. I see the wear and tear of time, the handiwork of a bookbinder who, long ago, had to find a way to fit a vast collection of loose documents into one single volume. I see a binding that was designed to hold pages that would be opened repeatedly, and I can imagine the last reader who, upon opening it one last time, must have hoped the binding would hold together just a little longer. 

As I gaze at this book, I am transported into a world of both practicality and wonder—a reminder that even seemingly mundane objects have fascinating stories to tell. And not to lose this, I requested a 3D model of it. 

At the British Library, we place great value on the unique features we uncover during our work, and we aim to preserve these qualities while ensuring the item’s longevity. 

IOR/F/4/1767 is heavily damaged: the spine cover is detached, and the once functional springback mechanism that allowed the book to lie flat when open has broken. The boards no longer provide adequate protection for the text. 

This damage, however, presents an opportunity to document the construction of the book in detail. I can see the sewing threads traveling up and down through the sections, creating a distinctive pattern on the spine. This is where a broken binding can be a blessing—it allows me to record a precise description of the sewing pattern and the board attachment system. 

Part of my work in this digitisation project is to explore various treatment options, considering both the physical condition of the book and the conservation for digitisation guidelines. The challenge was to complete the work within five hours—while still ensuring that the item would be safe for handling and its information accessible. 

After gathering detailed information about the volume, including photographs and a thorough description, I considered three possible treatment approaches.  

• Bespoke Box: Place the book in a custom box as it is, with limited access in the reading rooms due to its fragile condition. This option would make the book unsuitable for digitisation. 
• Partial Disbinding: Partially disbind the book by removing the spine, boards, and endleaves, and then cutting the sewing to separate the text-block into smaller sections. This would allow the item to be digitised as a series of booklets. 
• Full Disbinding: Completely disbind the book—removing the spine, boards, endleaves, and sewing. In this case, the book would be digitised as a loose-leaf file. 

These options were evaluated through a risk assessment, where I weighed the pros and cons of each.  

After discussing with my colleagues—curators, imaging technicians, and other conservators—I ultimately decided on the partial disbinding treatment. 

The process of digitising IOR/F/4/1767 was both an ethical and a personal experience. The 3D model created is an attempt to capture my initial impressions of working with this fascinating book. Digitisation cannot do full justice to its impressive dimensions, its old archive scent, or its 15 kilograms of dusty paper, cloth, and boards, all of which must be left to your imagination. 

This is just one of many curious items hiding in the British Library’s stacks. Each book, like IOR/F/4/1767, holds its own story—waiting for someone to unlock them.

This article explores Moda Farfour’s student placement at the BLQFP’s conservation studio. It highlights her work on a specific manuscript and provides an overview of her contributions and experiences throughout the placement.

In August 2024, I joined the British Library Qatar Foundation Partnership (BLQFP) for a student placement as part of my conservation course at City & Guilds of London Art School. I am specialising in book & paper conservation, and I am particularly interested in conserving Islamic and Arabic manuscripts and understanding their unique structures and materials. I chose this placement due to its focus on a distinguished collection of scientific and Arabic manuscripts. During my three weeks with the Conservation team, I gained invaluable insights into the intricacies of the digitisation programme and deepened my understanding of conservation techniques within this context.

The BLQFP project seeks to create a comprehensive digital library that is accessible to audiences worldwide, showcasing a carefully curated collection that highlights the history of the Gulf region and Arabic science. This collection encompasses a wide range of materials, such as manuscripts, maps, archival documents, and photographs. As conservators, our primary responsibility is to treat and stabilise these objects, ensuring they are legible and safe for handling during the digitisation process.

During my time at the BLQFP conservation studio, I had the privilege of working on several scientific manuscripts, each presenting unique challenges. I also had the opportunity to engage with other team members on this project, which helped me gain a deeper appreciation for the workflow and processes involved in creating digitised content for the Qatar Digital Library.

A key focus of my placement was assessing and documenting an objects condition to enable the item to be safely digitised. Navigating time estimates and strict project guidelines in order to meet the projects objectives was both challenging and highly rewarding. Below is an example of a project I worked on during my placement.

Treatment of ADD MS 7490

Image 1: ADD MS 7490 right board of the manuscript, bound in full red leather featuring three blind stamped medallions.

Working on this scientific manuscript was such a treat; on initial inspection, the binding was in overall good condition (Image 1), the textblock, on the other hand, had quite a few issues that needed to be addressed before it could progress to the imaging team. Before beginning any treatments, a full condition assessment was conducted, accompanied by thorough photo documentation.

The binding is in good condition, with minor surface damage to the leather and no structural damage. There are losses, part of the tail-edge tab covering the endband is missing, along with the endband. The textblock is in overall fair condition, with occasional stains, tears, paper losses, ink stains\smudges, surface dirt and edge damage along the paper edges. Some of the gatherings include loose centre-folds.

I began the treatment process with surface cleaning. This crucial step not only helps enhance the quality of the digital images but is also essential prior to introducing any moisture to the paper in the next phase of treatment. If not removed beforehand, moisture can cause dirt to become irreversibly embedded in the paper fibres. Using a chemical (smoke) sponge and a soft brush (Image 2), I gently removed any dirt or dust on the paper. In areas with text, I avoided using the sponge to protect any sensitive media. In cases where stubborn accretions remained, I carefully used a metal spatula to remove them mechanically.

Image 2: Surface cleaning using a soft brush

Following the surface cleaning, I addressed the tear repairs and infills. This phase of treatment is crucial for allowing different stages of the workflow to handle the manuscript safely. For the tear repairs, I used wheat starch paste (shofu) as my adhesive with 3.5gsm Tengu, an unbleached Japanese tissue. The long fibres in the Tengu provide a secure repair, while the lightweight tissue creates almost invisible repairs that enhance image quality (Images 3 & 4).

Image 3: Close up of tear before treatment

Image 4: Close up of tear after treatment

For the infills, I laminated four layers of 12gsm kozo paper to match the thickness of the area being repaired, as well as pairing down the edges so that it sits seamlessly on the original substrate (Images 5 & 6).

Image 5: Before paper infill

Image 6: After paper infill

As for the loose centre-folds, I observed that the silk sewing thread had torn through the paper centre-folds causing them to become loose (Image 7). To address this issue, I decided to repair the tear using 7.3gsm kozo paper (Image 8). This repair not only secures the loose centre-folds but also strengthens the area, preventing the thread from causing further damage.

I began by ensuring that the loose centre-fold aligned properly with the textblock. I also ensured the thread was relaxed and positioned away from the area of the tear repair. I then used wheat starch paste as the adhesive to repair the tear. In areas where additional support was needed, I applied a small amount of paste to the spine fold of the gathering to secure it in place.

Image 7: Close up of the tear in the centre-fold bifolium cause by the silk sewing thread

Image 8: Close up of the repair to the centre-fold bifolium after treatment

Treatment on ADD MS 7490 was concluded by consolidating the tail-edge endband using wheat starch paste to prevent further fraying.

I am deeply grateful for the invaluable knowledge I have gained from everyone at the BLQFP during my time here. It was inspiring to work alongside professionals who are both passionate and deeply committed to the project’s goals. Their generosity in sharing their time and knowledge has significantly enriched my learning experience. I especially want to thank Camille Dekeyser and the Conservation team for their guidance and support, which has been instrumental in shaping my development during this placement.

This article outlines the investigation into the item ‘Swarbreck’s Sketches in Scotland’ and where the item belongs.  

On a smoky day in August 2023, Swarbreck’s Sketches in Scotland appeared on shelf 11B in the Qatar Storage Area. Nobody knew where this item came from or how it came to be on the 6th floor. The item had no content and was merely a front and back cover. Why was it in this storage area? Who put it there? Was the ghost of Swarbreck haunting the 6th floor?

This is the tale of how the mystery of Swarbeck’s Sketches in Scotland was resolved.

Following the smoke incident on the 6th floor on Tuesday 15th August 2023, all items on the floor were moved into the Qatar Storage Area and audited by the Qatar Project Library Collection Assistant’s. when it was safe to re-enter the office, the QPLCAs promptly conducted an audit of the Qatar Storage area, when a mysterious discovery was made, an item called ‘Swarbreck’s Sketches in Scotland’ which did not have a ticket, used for tracking items within the library. The item had no content and was simply the front and back cover. The LCAs first made enquiries with project colleagues enquiring within the project, it was concluded that nobody within the project knew where the item had come from or why it was in the office. No concrete evidence could be established as to how this item came to be on the 6th floor. How were they ever going to find out where it came from?

Img. 1: The cover of Swarbreck’s Sketches in Scotland found in the Qatar Storage Area

The first step in investigating this item and how to return it to the correct department was researching the item in consulting the online catalogue and IAMS. A breakthrough was made- it was found that an item with the name ‘Sketches in Scotland’ by S.D. Swarbreck on the temporary catalogue had two potential shelfmark entries- ‘1780.c.1’ and ‘X 1237’. ‘1780.c.1’ could have been stored in any of the 625km of shelves¹ within the library, however ‘X 1237’ was clearly a map which narrowed the search to only 4.5 million maps². 

Img. 2: The Maps Storage Catalogue

Img. 3: X 1237- Deleted

Upon searching for X 1237 it was found that the item did not exist. In the paper catalogues in the Upper Ground Maps storage, the record for the item said, ‘Not found- entry deleted’. It was a dead end. These paper catalogues contain information from ‘A catalogue of manuscript and printed reports, field books, memoirs, maps, etc., of the Indian Surveys, deposited in the map room of the India office’ originally compiled by Clements Markham in 1878 and so was likely out of date.

However, the item 1780.c.1 was found in basement 2 of the library. The item was similar in size to the front and back covers in the Qatar storage area and the title matched. It was the breakthrough they had been waiting for... 

Img. 4: The other part of the Swarbreck volume

Through research and enquiring around the library, it was concluded that ‘Printed Heritage’ was the department they needed to interview for Swarbreck. Helen Peden, Lead Curator of Printed Heritage, met the LCAs and assessed the item, concluding that it belonged to the Printed Heritage Office. The covers could finally be returned to where they belonged.   

The final decision with what to do with this item was made- for the old front and back covers (found in the Qatar Project Storage Area) to be placed in an envelope with the current item, 1780.c.1, so that the items could be stored together.   

This tale is a clear example of the variety of resources in the British Library Collection and how much items move around the library. It also shows how easily an item can be lost and the importance of tracking collection items.  

Where did the item come from?  

We believe that the item may have been conserved on the 6th floor when Conservation was operating here (before the Qatar Project) however this was over 12 years ago.  

It was also theorized that it may have been relocated from one of the offices on the other side of the 6th floor from the Qatar Project, during the smoke incident.  

We do not know for certain where the item was stored on the 6th floor or how it came to be on the 6th floor. 

Who was Swarbreck?   

Samuel Dukinfield Swarbreck (fl. 1830-1865) was a painter of landscapes and townscapes and was well known for his sketches of Scotland. In 1839, he issued a folio set of 26 tinted lithographs under the title Sketches in Scotland, drawn on stone from Nature. These prints show different areas of Scotland, including busy streets in Edinburgh and the Scottish Highlands. These works represented a romantic visual representation of Scotland, with views of idyllic countryside and cityscapes.  

Swarbreck exhibited at the Royal Academy in the 1850s and 1860, exhibiting over eight artworks. His most famous work, The Bedroom of Mary, Queen of Scots, Holyrood Palace: showing the anteroom where Rizzio was dragged and murdered, and the secret staircase by which the conspirators entered was exhibited in 1856³. His work is represented in institutions including the City of Edinburgh Collection, Culzean Castle and Manchester Art Gallery. 

Img. 5: Samuel Dukinfield Swarbreck (fl. 1830-1865)

Img. 6: The inside cover of ‘Swarbreck’s Sketches in Scotland

Notes

1.  Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]

2. A bit about map collections - Maps and views blog 

3. Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865) 

Sources 

• ‘Samuel Swarbreck’, Anthony Woodd Gallery <Swarbreck, Samuel | Anthony Woodd (anthonywooddgallery.com)> [accessed 3rd April 2024] 

• ‘Biography and current catalogue for Samuel Dukinfield Swarbreck (fl. 1830-1865)’, Calton Gallery, Edinburgh <Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865)> [accessed  3rd April 2024]  

• Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]   

• For image of Swarbreck- Swarbreck, Samuel Dunkinfield - Capital Collections 

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

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