Brush consolidation

Brush consolidation of pigments in manuscripts is always done under high magnification.

In the case of brush consolidation of flaking pigment, a wetting agent is applied with an extremely fine brush along the edge of a crack. The wetting agent reduces the surface tension of the adhesive -or consolidant- which is applied immediately afterwards. This allows the consolidant to move beneath the loose pigment by capillary action, drawing the fragments back to the surface of the object and reattaching them to the substrate.

Preparing for Pigment Consolidation part 2

Consolidation doesn’t attempt to restore the losses in the illumination, but instead focuses on finding areas where the pigment is actively deteriorating and then readhering the loose pigment to the surface of the parchment. Successful consolidation requires accurate identification of active damage and loss to the pigment.

Preparing for pigment consolidation part 1

MS 201.4  © The Fitzwilliam Museum

A prevalent reason fragments were cut from manuscripts historically was so that illuminations could act as individual examples of medieval painting. The fragments were removed from their manuscript context and valued as art objects rather than as part of a text. While each fragment was highly valued for its imagery, removing it from the original context within a book can be very problematic for its physical survival. The artist painted on parchment which was meant to be stored within the controlled conditions of a book. Mounting systems for fragments do not recreate this environment and if not created carefully may cause damage. The pigments and their attachment to the parchment are threatened by this change in environment. Arguably, this compromises the integrity and aesthetics of the illuminations that made them appealing to cut out in the first place.

Delayed post

MS 2005-2.14 © The Fitzwilliam Museum 

The upcoming post about preparing for pigment consolidation will be delayed until Monday.

In the meantime, here is one of my personal favourite examples of marginalia present on the fragments.







This fragment is demonstrative of the extraneous nature of such decoration. The main illustration details a spiritual pilgrim's soul gazing on his dead body in a serious manner. In the margins a man in a pointed hat uses poor archery technique while fighting a timid-looking dragon.

MS 2-2005.14 detail © The Fitzwilliam Museum 

Mounts:Survey and literature review

What is a mount?

Regarding parchment, paper or similar materials, the mount refers to the secure framing most commonly made of conservation-grade acid free museum board in a neutral colour, that the object is stored within. The mount protects the object from accidental damage and makes them much easier to store as a group, or display. Mounting also refers to the set-up and act of securing the object to the board.

Trolley with boxes containing different sized mounts and parchment fragments

Delayed post

Apologies for the lack of update this past Friday- due to illness and travel the intended post on mounts will be postponed until this upcoming Friday the 15th of November.

In the meantime, you may be interested in viewing this post I wrote for the West Dean student conservation blog during my graduate studies. It covers how sellotape works, why it damages books, and some of my conservation treatment on a family bible.

SELLOTAPE: WHY IT’S BAD TO PUT ON PAPER, AND REMOVAL

Short Glossary

This post compiles some of the more general terms that will be frequently used during this project and defines them; it is in no way a comprehensive list but will hopefully act as a starting point or reminder about some exact definitions. More exact and precise glossaries will be compiled as the project and my own research progress- for example, as I begin working on pigments I will provide definitions for terms such as cracking or powdering. Next week's post about mounts will provide a glossary of mounting terms.

A small list of sources for further reading is provided at the end of the page.

About the manuscripts:

Grotesque: A hybrid and comic figure, often combining elements from various human and animal forms. Grotesques often bear no obvious relationship to the texts they embellish. (1)

Detail from MS 2-2005.6 © The Fitzwilliam Museum