Last weeks to see manuscript conservation secrets

It is the last weeks to see the fascinating secrets of how illuminated fragments are conserved. The special displays are on show in the Fitzwilliam Museum’s Rothschild Gallery until 28 September. Second only to the Vatican Museum, the Fitzwilliam’s collections of illuminated manuscripts are one of the finest in the world. As well as illuminated bound manuscripts, the collection also comprises some 500 fragments, ranging in size from individual capitals, large antiphonal leaves and full-page miniatures.

Illuminations were removed from manuscripts for many reasons. Many of the fragments in the Fitzwilliam collection were part of private collections formed in the 19th century as examples of the 'lost art' of medieval painting. Whilst each fragment was highly valued as an art object, cutting out these miniature paintings put them at risk once outside the safer confines of a bound book. A small number of fragments have been displayed to illustrate in detail the conservation process and some of the considerable challenges that these beautiful objects pose.

Some of the contemporary conservation methods featured in the display include:

Removing old paper linings - historically, paper backings were sometimes added to parchment fragments to stabilise them. This obscures the back of the fragment and restricts the natural movement of the parchment which is made from animal skin. Repairing tears - tears are repaired with conservation grade adhesives and thin handmade Japanese papers. This subtle repair technique doesn’t distract from the imagery or text. Stabilising loose pigments - fragmentary paint layers are consolidated using carefully selected adhesives compatible with the individual fragments. They are applied using either a very fine brush, or in the form of vapour with a nebuliser. This reattaches the delicate pigment to the surface of the parchment. Storing fragments safely - finally, the fragments are ‘floated’ in custom made frames cut from conservation grade card and attached with Japanese paper tabs. This system allows the parchment to move naturally, without the risk of further damage to the fragment. A traditional window mount finishes the fragments preservation, ensuring it is suitable for display and storage.

More behind-the-scenes stories from the world of contemporary manuscript conservation will be featured in a major exhibition for the Museum’s bicentenary, COLOUR: The Art and Science of Medieval and Renaissance Illuminated Manuscripts (August - December 2016).

This work has been made possible thanks to the generous support of the National Manuscripts Conservation Trust, and the Fitzwilliam Museum’s Marlay Group.

2 September 2014