Paper Conservation: Decisions & Compromises

Paper Conservation: Decisions & Compromises Paper Conservation: Decisions & Compromises

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Fig. 4 offers a non-invasive approach to study and disseminate historical documents without the risk of damaging the primary source. References Biehl, L. and Landgrebe, D., MultiSpec – A tool for multispectral-hyperspectral image data analysis, Computers and Geosciences, Volume 28, Issue 10, December 2002, Pages 1152-1159. Forth Photonics Website, MuSIS HS, http://musis.forth-photonics.com/products.php. Goltz, D. and Hill, G., Hyperspectral Imaging of Daguerreotypes, Restaurator, International Journal for the Preservation of Library and Archival Material, Volume 33, Issue 1, March 2012, Pages 1-16. ITT Visual Information Solutions: ENVI. http://www.ittvis.com/ProductServices/ ENVI.aspx, Jun 2010. Joo Kim, S., Zhuo, S., Deng, F., Fu, C-W. and Brown, M.S., Interactive Visualisation of Hyperspectral Images of Historical Documents, IEEE Transactions on visualisation and computer graphics, Volume 16, Issue 6, December 2010, Pages 1441-1448. Saunders, D. and Cupitt, J., Image Processing at the National Gallery: The VASARI Project, National Gallery Technical Bulletin, Volume 14, 1993, Pages 72-85. Figure Captions Fig. 1: The spectral range of the MuSIS system extends from ultraviolet to near infrared including the visible part of the Electromagnetic Spectrum. From http://musis.forth-photonics.com/ Fig. 2: HSI Labs multispectral image processing of the Renaissance illuminated manuscript Add. Ms. 45722, Leaf from Sforza Hours. Similarity maps are a measure between the mean spectrum of the marked area and the other points in the data are computed by using the entire spectral bands, visible bands and selected bands in the NIR. Left: Original RGB image showing a variety of pigments used across the illumination. The numbers represent spectral plots shown in Fig. 3. Centre: Grey colour similarity map of the Leaf from Sforza Hours, Right: Jet colour similarity plots of the Leaf from Sforza Hours. Multispectral data was captured with the MuSIS system. Fig. 3: Spectrum plot of the Renaissance illuminated manuscript Add. Ms. 45722, Leaf from Sforza Hours showing the use of multispectral images in pigment identification. 1 = blue clothing, 2 = green clothing, 3 = yellow hat, 4 = grey collar, 5 = baby skin, 6 = gold halo, 7 = brown roof, 8 = red clothing. Fig. 4: Three bands of the 32 generated by the MuSIS multispectral instrument are shown. Left: At 420 nm the photograph appears dirty and the ink inscription along the top is faded. Centre: At 620 nm the impurities on the surface have been reduced and the ink inscription is enhanced. Right: At 1,000 nm the impurities have are removed and the image is no longer obscured. The ink, however, is not visible at this band. A combination of the 620 nm and 1,000 nm band would provide the optimum fusion. Author Christina Duffy, The British Library, 96 Euston Road, London, NW1 2DB, United Kingdom, christina.duffy@bl.uk. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 134

Strategy in the Case of a Wrecked Papyrus: Is an Intervention Appropriate? Eve Menei and Laurence Caylux Independent conservators, Paris, France Fig. 1: Overall view of mounts 1 and 7 (Menei & Caylux©). Some works may be historically significant but in disastrous condition. At each stage of evaluation of the artifact, the conservator finds himself or herself confronted with the very question of whether to intervene. In 2010, the Department of Egyptian Antiquities of the Louvre asked us to undertake research on the physical condition and possibilities for intervention on a large (estimated length of the scroll: seven metres) and exceptional papyrus, recently acquired by the Museum (inv.E 32 847) (Fig. 1). Historical background The document inscribed recto-verso, dated to the New Kingdom of Egypt (1550-1050 BC) displays a medical treaty on each side. The recto bears descriptions of diseases together with remedies to treat them, for which some parallels are known from other papyri. The verso shows longer and more numerous descriptions together with magical spells unknown from other documents. The first text was written during the reigns of Thutmose III or Amenhotep II (1479-1404 BC) and the second one 150 years later at the beginning of the Ramesside period as an updated version of the preceding text. The manuscript is written in hieratic script, with cursive hieroglyphs, in carbon black ink and some sections are inscribed in red ink. The papyrus was acquired in 1953 by a private individual. It has remained the property of various private owners until its purchase in 2007 by the Department of Egyptian Antiquities of the Louvre thanks to the contribution of the Ipsen Group. Its general condition was however so preoccupying that the Museum hesitated in concluding its purchase which was finally justified by the scientific importance of the document. The production of papyri The oldest known papyrus is an unwritten scroll found in a tomb and dated to 3100 BC. It shows evidence of a perfectly developed production process. A sheet of papyrus is made from strips cut vertically from the stem of the Cyperus papyrus; two layers of strips would be laid down one upon the other at right angles and then pressed. Like all organic materials, papyri eventually suffer deterioration through ageing, but stored under good conditions, they can still be very light in ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 135

Strategy in the Case of a Wrecked Papyrus: Is an Intervention Appropriate?<br />

Eve Menei and Laurence Caylux<br />

Independent conservators, Paris, France<br />

Fig. 1: Overall view of mounts 1 and 7 (Menei & Caylux©).<br />

Some works may be historically significant but<br />

in disastrous condition. At each stage of evaluation<br />

of the artifact, the conservator finds himself<br />

or herself confronted with the very question of<br />

whether to intervene.<br />

In 2010, the Department of Egyptian Antiquities<br />

of the Louvre asked us to undertake research<br />

on the physical condition and possibilities for<br />

intervention on a large (estimated length of the<br />

scroll: seven metres) and exceptional papyrus,<br />

recently acquired by the Museum (inv.E 32 847)<br />

(Fig. 1).<br />

Historical background<br />

The document inscribed recto-verso, dated to the<br />

New Kingdom of Egypt (1550-1050 BC) displays a<br />

medical treaty on each side. The recto bears descriptions<br />

of diseases together with remedies to<br />

treat them, for which some parallels are known<br />

from other papyri. The verso shows longer and<br />

more numerous descriptions together with<br />

magical spells unknown from other documents.<br />

The first text was written during the reigns of<br />

Thutmose III or Amenhotep II (1479-1404 BC) and<br />

the second one 150 years later at the beginning<br />

of the Ramesside period as an updated version<br />

of the preceding text. The manuscript is written<br />

in hieratic script, with cursive hieroglyphs, in<br />

carbon black ink and some sections are inscribed<br />

in red ink. The papyrus was acquired in 1953 by a<br />

private individual. It has remained the property<br />

of various private owners until its purchase in<br />

2007 by the Department of Egyptian Antiquities<br />

of the Louvre thanks to the contribution of the<br />

Ipsen Group. Its general condition was however<br />

so preoccupying that the Museum hesitated in<br />

concluding its purchase which was finally justified<br />

by the scientific importance of the document.<br />

The production of papyri<br />

The oldest known papyrus is an unwritten scroll<br />

found in a tomb and dated to 3100 BC.<br />

It shows evidence of a perfectly developed production<br />

process.<br />

A sheet of papyrus is made from strips cut<br />

vertically from the stem of the Cyperus papyrus;<br />

two layers of strips would be laid down one upon<br />

the other at right angles and then pressed. Like<br />

all organic materials, papyri eventually suffer<br />

deterioration through ageing, but stored under<br />

good conditions, they can still be very light in<br />

ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013<br />

135

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