Parchment leafcasting revisited

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Parchment leafcasting revisitedKerstin Forstmeyer aa Institut für Erhaltung von Archiv- und, Bibliotheksgut Schillerplatz 11, Ludwigsburg,71638, GermanyPublished online: 15 Apr 2013.

To cite this article: Kerstin Forstmeyer (2012): Parchment leafcasting revisited, Journal of the Institute of Conservation,35:2, 219-229

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SHORTER NOTICE

Kerstin Forstmeyer

Parchment leafcasting revisited

Keywords

leafcasting; reconstituted parchment; hide powder

Exactly 20 years ago The Paper Conservator, predecessor of this publi-cation, dedicated an issue to the topic ‘Parchment’. In that issue, JanWouters and his colleagues presented a new technique for fillinglacunae in fragile parchment objects, using so-called ‘reconstitutedparchment’.1 This method, revolutionary for parchment restoration,has since been used successfully by numerous specialized workshops.This article describes the practical experience and information gleanedfrom many years of working with Wouters’ technique and its multi-faceted applications.

Parchment is an extraordinarily durable material when it is stored in aclimatically correct environment but it quickly mildews on exposure tomoisture or humidity. The principal type of damage faced by conservatorsdealing with parchment is lacunae caused by advanced mildew or byrodent attack. It is, therefore, unsurprising that parchment conservatorswere attracted by the aesthetically pleasing and efficient method of leaf-casting for paper and sought an equally satisfactory method for parch-ment. As parchment is an untanned animal skin, it comprises acontinuous network of collagen fibres that have only been freed of hairand subcutaneous tissue. Paper sheets, in contrast, are made fromshorter fibres that have been isolated from the original natural material(usually wood). These sheets contain weaker chemical bonds comparedto a natural hide with collagen as the main component.2 Paper fibrescan be cast into a stable sheet and infills can be made using the same tech-nique (known as leafcasting).

Traditionally, lacunae have been filled by backing with a prepared parch-ment patch. This procedure is, however, very time-consuming and, in thecase of numerous small lacunae (e.g. as caused by mildew), is also riskyor even impossible because the material joins are stiff and the tensilecharacteristics are different for old and new parchments. Furthermore, itis difficult to find parchment matching in thickness and appearance; awell-equipped workshop needs access to a large and varied supply inorder to meet differing aesthetic and tactile requirements.

Leafcasting permits customized matching of thickness and appearance tothe original with only one basic ingredient, so conservators have sought todevelop leafcasting methods for parchment. Parchment cannot be madeinto a slurry and then cast into infills, so leafcasting with an identicalmaterial is not possible as it is with paper. Instead, a variety of methodshave been developed using powdered hide. The hide powder suspensioncan also be combined with paper fibres to provide other conservationoptions for damaged parchment.3

(Received 9 September 2011; Accepted 15 August 2012)

1 J. Wouters et al., ‘The Conservation ofthe Codex Eyckensis: The Evolution ofthe Project and the Assessment ofMaterials and Adhesives for the Repairof Parchment’, The Paper Conservator 16(1992): 67–77.

2 J. Schrempf, ‘Anfaserung von Perga-ment’, in Pergament: Geschichte—Material—Konservierung—Restaurierung,Kolner Beitrage zur Restaurierung undKonservierung von Kunst- und Kultur-gut, vol. 12 (Munich: Siegl, 2001), 157–255. Information about paper structureis on p. 159.

3 A. Pataki, K. Forstmeyer, andA. Giovannini, ‘Leafcasting ParchmentDocuments Degraded by Mould’, inPreprints of the ICOM-CC 13th Triennial

Meeting, Rio de Janeiro, ed. Roy Vontobel(London: James and James, 2002),622–7.

Journal of the Institute of Conservation

Vol. 35, No. 2, September 2012, 219–229

ISSN 1945-5224 print/ISSN 1945-5232 online

# 2012 Icon, The Institute of Conservation

http://dx.doi.org/10.1080/19455224.2012.723452

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HistoryThere have been numerous attempts to develop a method for infilling parch-ment with powdered hide.4 As early as 1985, Laursen presented a complexprocedure for producing the powdered parchment, which was consolidatedwith an albumin-based binder.5 The very brittle fill needed to be backed oneach side with goldbeater’s skin to protect the edges. Alternatively, gelatineor parchment glue were recommended as consolidants.

During a conference in Budapest in 1990, Hungarian conservators pre-sented a method that uses a blend of cellulose fibres and hide powder.6 Thewater/ethanol-based suspension is applied directly into the missing area ona vacuum table, with parchment glue and methyl cellulose as adhesives.This technique achieved a visually satisfactory result, though the surfaceeffect was more like paper than parchment. A modification of this techniquehas been successfully used for restoring very large lacunae.7

A common factor for all previous methods was the use of materials thatare not chemically related to parchment, thereby leaving unfulfilled thewish expressed by conservators for a material identical to parchment, asused in paper leafcasting. A new technique was developed for the restor-ation of the Codex Eyckensis in 1992, using a formula containing onlyhide powder, formaldehyde and then calcium carbonate for achieving thedesired opacity.8

Pre-treating the mixture with formaldehyde increases the opacity tobetter match the appearance of parchment.9 Johannes Schrempf surmisesthat some tanning of the collagen fibres takes place, enabling improvedcross-linking of the fibres on a vacuum table.10 The suspension, whichhas to be cleared of excess formaldehyde, can then be cast into the lacunaon the vacuum table, as in the Budapest method. The reconstituted parch-ment produced with this technique is both visually and tactually very satis-fying. A further advantage of this method is that the hide powder used byWouters et al. is available commercially, whereas the other methods requireconservators to make up their own powder.

Making the leafcasting suspensionFor preparing the pulp, Wouters et al. recommend a horizontal agitator toimprove swelling, as well as a blender that can be refrigerated in order toprevent the collagen fibres overheating while they are being milled.11

Although this procedure has been used in our workshop for a number ofyears, we have experienced frequent problems with making the suspension,and especially with maintaining a consistent high quality. We thereforecarried out various experiments to discover what the most important prere-quisites are for making up a successful blend. Furthermore, we attemptedto simplify the procedure and to replace the relatively expensive laboratoryequipment with more low-end equivalents so that this technique could beaffordable for smaller conservation laboratories.

The classification of formaldehyde as carcinogenic, and its special storageand disposal requirements, meant that the addition of formaldehyde in theoriginal recipe was perceived to be a great disadvantage.12 Wouters et al.describe their early attempts to make a suspension without adding formal-dehyde, which also resulted in a usable fibre pulp.13 The main function ofthe formaldehyde is to increase opacity, as the untreated fibres are transpar-ent after drying.

It was also surmised that there is a connection between the quality of theinitial material and the quality of the mixed leafcasting suspension. Thethree batches of hide powder we had obtained to date all looked different,and varied in grain size (Fig. 1).

In order to isolate the cause of the frequent variations in consistency andappearance of the leafcasting suspension, different methods for blending

4 An overview of the different tech-niques is given in Schrempf, ‘Anfaser-ung von Pergament’, 160–4; andJ. Wouters, ‘The Repair of Parchment:Filling’, Reviews in Conservation 1(2000): 77–86.

5 P. Laursen, ‘Trockene Pergament- undPapieranfaserung’, Maltechnik-Restauro91 (1985): 63–6. Small pieces of parch-ment were cut up and pulverized in anultra-centrifugal mill. Because of thehigh revolutions per minute (rpm),which led to the fibres scorching, aswell as the high cost of the applianceitself, the mills/grinders currently com-mercially available have only limitedusefulness for pulverizing parchment.The binder used was Eukanolboxglanz(Bayer AG), an aluminium-containingprotein preparation.

6 Named the ‘Budapest method’ inI. Beothy-Kozocsa, T. Sipos-Richter,and G. Szlabey, ‘Parchment Codex Res-toration Using Parchment and CelluloseFibre Pulp’, Restaurator 11 (1990): 95–109.

7 Pataki, Forstmeyer, and Giovannini,‘Leafcasting Parchment Documents’,627.

8 Wouters et al, ’Codex Eyckensis’.White hide powder is made from decal-cified, ground calfskins and is used inthe leather industry for gravimetricanalysis of vegetable tanning agents.

9 J. Wouters, A. Peckstadt, andL. Watteeuw, ‘Leafcasting with DermalTissue Preparations: A New Methodfor Repairing Fragile Parchment, andits Application to the Codex Eyckensis’,The Paper Conservator 19 (1995): 5–22;the function of formaldehyde isdescribed on p. 8.

10 Schrempf, ‘Anfaserung von Perga-ment’, 162–3.

11 Waring laboratory blender, chillablebeaker with a dull blade (360 Watts/18,000 rpm).

12 The Technical Regulations forDangerous Substances (TRGS) inGermany require the use of nitrilegloves when working with formal-dehyde. Working under a fume hoodis recommended. There are specialstorage and disposal requirements: noformaldehyde should be allowed toenter the sewage system, and even thesmallest quantities must be stored in alockable chemicals cupboard.

220 Forstmeyer

Journal of the Institute of Conservation Vol. 35 No. 2 September 2012

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the ingredients were compared in our laboratory (Table 1). This ultimatelyresulted in an alteration of the recipe (see Appendix 1).

It was discovered that the use of a horizontal agitator and a blender thatcan be refrigerated (Fig. 2) is not necessary. To avoid overheating, it issufficient to refrigerate the suspension overnight. Using a hand blender(Fig. 3) sufficed, though an appliance with a minimum of 14,000 rpm isnecessary (Fig. 4).14

It was also evident that the omission of formaldehyde had a negligibleeffect on the results and that fills made without formaldehyde are, surpris-ingly, of enduring quality. The variable quality that we had experiencedusing the original method did not occur with the modified recipe.However, the addition of formaldehyde made a conspicuous difference tothe opacity of the reconstituted parchment. Without formaldehyde, thematerial was completely transparent, whereas when added it becameopaque. A sufficiently opaque appearance could be produced by addingcalcium carbonate, even in the variants without added formaldehyde(Fig. 5).

Appendix 1 gives the details of the original recipe by Wouters et al. and ofour modification.15 The equipment used for each method is shown in Figs. 2and 3, respectively.

It is noticeable that the sample without formaldehyde (Fig. 5) is bothvisually and tactually closer to a parchment with intact grain side, as ithas a slightly shiny, smooth surface. Following the addition of calciumcarbonate this effect is enhanced, possibly due to a change in the pH thataffects the structure of the protein fibres (isoelectrical point). The materialgains a somewhat smoother feel, similar to that of parchment buffed onboth sides.

This variability is an advantage, as it means that either or both types of fillcan be used, depending on the nature of the object to be restored. As thelayers created with this method can be very thin, the transparent variantcan even be adhered on top of writing or illuminations.

It was also found during the test evaluation that using differentbatches of powder did not affect the quality of the leafcasting suspension(Table 1, tests 10–11).

Fig. 1 Three different batches of hide powder, varying considerably in appearance.

13 Wouters, Peckstadt, and Watteeuw,‘Leafcasting with Dermal Tissue’, 8.

14 Braun Stabmixer Multiquick 5 (600Watt/15,000 rpm).

15 The former procedure is described indetail in Wouters, Peckstadt, and Wat-teeuw, ‘Leafcasting with DermalTissue’, 10.

Parchment leafcasting revisited 221


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Practical applications for reconstituted parchmentAs the uses of the reconstituted parchment are extraordinarily versatile,over time a wide range of applications has been developed by our conser-vation laboratory. Over the last 17 years, about 700 charters heavilydamaged by mould have been restored using this method. These weremainly single sheets with writing on one side only. The charters wererestored either by casting the suspension directly on to the parchment orby adhering very thin pre-cast patches on to the surface. The so-called’glass-like-layer’ phenomenon was not found in any of the charters,

Table 1 Results of testing various procedures for preparing parchment leafcasting pulp

Preparation Mixing Additions

Method

24 hr

agitation

2 hr

swelling

time,

reduced

liquid

12 hr rest in

refrigerator

Chillable

Waring

blender

Braun

hand

blender

Simple

hand

blender

Formaldehyde

added

Different

batches of

hide

powder Result Evaluation

1 × × × even, finesuspension

very good

2 × × × same as no. 1 very good3 × × × coarser

suspensionpoor

4 × × × same as no. 3 poor5 × × × almost as fine

as no. 1good

6 × × × moderatelyfinesuspension

acceptable

7 × × same as no. 1 very good8 × × same as no. 5 good9 × same as no. 6 acceptable

10 × × × × same as no. 1 very good11 × × × same as no. 5 good

Fig. 2 A typical set-up for preparing reconstituted parchment from Wouters’ recipe (left toright): blender; agitator with conical flasks; and filtering apparatus.

222 Forstmeyer


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which is why leafcasting directly seemed to be appropriate.16 Parchmentswith larger lacunae were usually backed with Japanese tissue paper; ifparchment leafcasting suspension were applied to larger areas, detrimentaltensions could occur, because the parchment edges are not stable enoughand can tear. Writing substances were tested for iron(II) ions; if tested posi-tively, direct leafcasting was avoided and the lacunae were filled with pre-cast patches instead.17 Parchments damaged by heat were restored withreconstituted parchment patches to prevent contact with water.

For parchment manuscripts with writing on both sides of the sheet lami-nated pre-cast patches of reconstituted parchment can be used. In boundmanuscripts, direct leafcasting seems to bear too much risk for the

Fig. 3 A typical set-up for preparing reconstituted parchment using our modified recipe:immersion hand blender and conical flasks.

Fig. 4 Samples ofparchmentpulp(left to right):after thefirstmixingandswelling;aftermixingwitha weak blender; after mixing with a powerful blender (Waring laboratory blender, 18,000 rpm).

16 B. Hassel, ‘Examination of HeatDamaged Parchment’ (master‘s thesis,School of Conservation, Copenhagen,2001); and K. Nielsen, ‘Visual DamageAssessment’, in Improved Damage Assess-ment of Parchment (IDAP), ResearchReport 18 (Luxembourg: EuropeanCommission, 2007), 47f.

17 Iron gall ink test paper developed bythe Conservation Research Department,Netherlands Institute for Cultural Heri-tage (ICN).



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colours. Moreover, there is a danger of warping while working on a boundvolume, especially as preconditioning is not possible.

1 Pre-cast patchesIn our laboratory we seldom apply the leafcasting suspension directly on tothe object as proposed by Wouters.18 Apart from the risk of over-hydrating,there is an additional danger of forming water and dirt stains. Furthermore,the surface structure of the parchment is visibly altered by the penetrationof humidity during the leafcasting process and the previous conditioning ina cedarwood box or in a Gore-Tex sandwich.19 The leafcasting suspension isapplied directly only on parchment sheets that are relatively clean andheavily perforated by mould damage. As it is possible to create reconsti-tuted parchment in almost any desired thickness and size, it is in some situ-ations preferable to the natural material. Extremely fine transparent oropaque patches, which can be pre-cast in large quantities and stored forfuture use, may be used to stabilize small lacunae in areas damaged bymould or ink corrosion.

With the aid of a stencil, larger patches can be cast with the leafcast pulpin the exact shape and thickness necessary, the edges skived and thenadhered to overlap in the same manner as in classic parchment repairs. Ifthe overlapping edges are within an area of writing, the casting is donein two layers: the hole is filled with a separate, pre-prepared opaquepatch which fills the loss exactly. The patch can be made to conform withthe edges of the lacuna exactly by wetting it until it has a rubbery consist-ency and then shaping it with a spatula. The opaque patch is dried in situunder moderate pressure, then a second, slightly larger infill is preparedusing the recipe for transparent pulp. This patch is adhered with isinglassor wheat starch paste to the parchment, where it overlaps the edges of theopaque infill and stabilizes it (Fig. 6). The writing is thus not covered andthe hole is filled with opaque material.

Fig. 5 Samples of reconstituted parchment (clockwise from top left): without formaldehyde orcalcium carbonate; with formaldehyde but without calcium carbonate; with both formal-dehyde and calcium carbonate; without formaldehyde and with calcium carbonate.

18 Wouters, Peckstadt, and Watteeuw,‘Leafcasting with Dermal Tissue’, 14–19.

19 The box comprised two cedarwoodboards attached at right angles thatform a frame when pushed together.The parchment is humidified betweentwo layers of non-woven fleece (woolor capillary fleece) that have been dam-pened with water. The parchment ispositioned in a rinsing frame and sand-wiched between the fleece layers, thenplaced inside the box frame. The framehas acrylic ’windows’ to allow easierobservation during the humidificationprocess.

224 Forstmeyer


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2 Laminated fillsUnlike buffed parchment, parchment with intact grain side has sides ofdiffering appearance: smooth and yellowish on the grain side, rougherand paler on the flesh side. For these parchments, a double-layered infillcan be used in order to match the appearance more closely. As before, thelacuna is first filled with an opaque pulp and then a very thin layerof the transparent pulp is cast on the grain side of the patch. For buffedparchment the opaque infill alone is sufficient.

In order to obtain absolutely seamless overlaps the dry patches are brieflyconditioned in a Gore-Tex sandwich, applied on to a sheet of Hollytex, andthen dried in place under moderate pressure. The infill bonds perfectly tothe surface of the original. It is advisable to place the patch on asupport—e.g. a non-woven fleece such as Hollytex—because the reconsti-tuted parchment develops a rubbery consistency when dampened andcannot be lifted with a spatula. The infill is positioned into the hole andthen pressed down with the support fleece still in place. After pressingand drying the support can be pulled off.

During the attachment to the original the reconstituted parchment devel-ops less tension in the area of adhesion than skived natural parchment.Selecting the correct adhesive can influence the tension in the glueingarea. In the event that strain does occur, the repaired parchment is con-ditioned for a brief period in a cedarwood box and then dried underlight pressure over a longer period of time.

3 Combining the suspension with paper fibresFor very big lacunae, a combination with pulped paper fibres (100% cottonlinters) proved to be suitable.20 Using our procedure, as described inAppendix 1, up to 50% of the total amount of the dry hide powder canbe replaced with paper fibre pulp.21 The resulting filler puts the edges ofthe parchment under less tension because it does not shrink as much asthe original prepared pulp and is more paper-like. It can be used for bothdirect filling and for manufacturing a pre-cast patch.

Fig. 6 A laminated infill, consisting of a layer of opaque reconstituted parchment with a thinlayer of transparent reconstituted parchment on top. The top layer is larger and provides atransparent margin for adhering the infill to a parchment.

20 Restauro Anfaserstoff natur Zerkall(100% rags buffered with 4% calciumcarbonate), Romerturm.

21 Pataki, Forstmeyer, and Giovannini,‘Leafcasting Parchment Documents’,623.



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Appropriate adhesivesSuccessful adhesion of reconstituted parchment patches has been achievedby using isinglass in water (in a ratio of 1: 9). The patches can also be gluedon to very limp and weakened parchments with a very thinned wheatstarch paste because the wheat starch paste creates less tension. Gelatinedevelops stronger tension and becomes somewhat shiny when dry, whichis not always optimal. However, it continues to be used for areasdamaged by ink and copper pigment corrosion because of its ability toisolate iron and copper ions.22

If it is necessary to avoid contact with water on a parchment, very smallpatches of reconstituted parchment can be adhered using a solution of 4%

Fig. 7 Tinting infills with ground-up pastel chalks.

Fig. 8 Tinting infills with leather dyes.

22 G. Kolbe, ‘Gelatine in der histor-ischen Papierherstellung und als Mittelgegen Tintenfraß auf Papier’, Restaura-tor 25, no. 1 (2004): 26–39.

226 Forstmeyer


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Klucel G (hydroxy propyl cellulose) in ethanol. This technique has recentlybeen implemented during the restoration of damaged areas on the StuttgartPsalter.23

Tinting reconstituted parchmentAs the results of tinting in the pulp stage are unpredictable, and wouldrequire an enormous amount of previous testing, colour matching to theoriginal is undertaken only after the infills are dry. Two methods havebeen found to be successful: colouring with pigments (pastel chalks orloose powdered pigments) and tinting with leather dyes (Figs. 7 and 8).Andrea Pataki has described in detail the suitability and permanence ofleather dyes for reconstituted parchment.24 Good results were achievedwith the recommended concentration of liquid Irgaderm from Ciba Geigy.25

1 Tinting with pastel chalksA small amount of chalk in the desired shade is scraped from one or morepastel sticks with a scalpel. In order to obtain a homogeneous colour, a fewdrops of ethanol are added to the powder and blended in until an even hueis achieved. The pastel chalk can be applied with a brush before the ethanolis evaporated or, once dry, rubbed onto the surface of the reconstitutedparchment with a cotton swab. For larger areas, it can be applied with a lint-free cloth wrapped around cotton wool.

2 Using leather dyesOne drop of each of the shades desired (in this case, Rodaw Dye NF concen-trate) is applied to a palette. Strongly diluted with a mixture of water andethanol, the colour is mixed before being applied to the infill in very thinwashes with a brush. If the initial shade is too pale, the application canbe repeated. The addition of ethanol means that the colour wash driesvery quickly. After colouring, the infill is skived as necessary and gluedon. With practice it is also possible to colour the adhered infill in situ.

This procedure is particularly advantageous for parchment with intactgrain sides, which is darker and usually grimier on the outer sides. Inthis case, the written side does not require any colour-matching and itusually suffices to tint only the grain side.

SummaryThe technique of parchment leafcasting using reconstituted parchment isattractive for conservators, not only because of the broad spectrum of poss-ible applications that have been developed over the years, but also becauseno other method gives comparable results in terms of procedure, perma-nence and tactual and aesthetic qualities.

The modification of Wouters’ method that is described in this article ischeaper, quicker and uses less toxic ingredients than the original recipe.It is possible that the omission of formaldehyde will effect a somewhatweaker cross-linking of the fibres in the final product, but this has not yetbeen objectively ascertainable. It is hoped that, by using a preparationwithout added formaldehyde and without costly equipment, this versatiletechnique will become accessible to a wider circle of conservators.

Appendix 1 Comparison of original and modified recipes for parchmentleafcasting pulp

1 Original recipe proposed by Wouters et al.

Production time: 3 days

23 A. Pataki-Hundt, ’Die konservator-ische Bearbeitung’, in Kupfergrun, Zinno-ber & Co.: Der Stuttgarter Psalter, ed. VeraTrost, Andrea Pataki-Hundt, and EnkeHuhsmann (Stuttgart: Wurttember-gische Landesbibliothek, 2011), 138.

24 A. Pataki, ‘Farbung der Ausgangs-materialien von “rekonstituiertem Per-gament” mit lichtechten synthetischenFarbstoffen’ (diploma thesis, Akademieder Bildenden Kunste Stuttgart, 1997).

25 At that time named Irgaderm (Ciba-Geigy), subsequently Selladerm M,now Rodaw Dye NF.



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Appliance costs: c. E1800

Transparent recipe

5.0g hide powder0.3g Tylose MH 300 (methyl hydroxyl ethyl cellulose)12.5ml formaldehyde (37% w/w aqueous solution)1l distilled water1.0g CaCO3

Mix the hide powder, Tylose and 1l distilled water with horizontal agitationfor 24 hours. Blend for 4 minutes in a chillable blender, add the formal-dehyde and chill for another 24 hours in a refrigerator.

Rinse out the formaldehyde by filtering through paper, then add 500mlwater and filter again, repeating this at least three times. Test the rinsingwater for formaldehyde remains using Schiff’s reagent for the detection ofaldehydes.

Add 1l water and 0.3g Tylose and let stand for another 24 hours.Add 1g calcium carbonate and blend in a chillable blender for 1 minute.

Opaque recipe

8.0g hide powder0.3g Tylose MH 30040ml formaldehyde (37% w/w aqueous solution)1l distilled water2.8g CaCO3

Prepare as described above, but reduce the initial blending to only 2minutes. After the addition of 2.8g CaCO3, blend for 20 seconds only.

2 Modification of Wouters’ recipe

Production time: 1 dayAppliance costs (depending on the quality of the mixers): E70–800

Transparent recipe

8g hide powder0.3g Tylose MH 3001l distilled water

Mix the hide powder, Tylose and 200ml of the distilled water. Leave it toswell for 2 hours.Blend for 4 minutes with a laboratory or hand blender. Add 200ml waterand let stand for 12 hours.Blend again for 2 minutes and add 600ml distilled water.

Opaque recipe

Prepare as described above, but to each litre of mixed suspension add 1gCaCO3 (calcium carbonate) and blend for a further minute.

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Acknowledgements

I would like to extend my warmest thanks to my colleagues at theInstitute for Preservation of Archival and Library Material fortheir ideas, suggestions and practical support.

Abstract

In 1992 a group working with Jan Wouters developed a method to filllacunae on badly damaged parchments, using a process similar tothat used for paper. On a vacuum table a suspension of originallyanimal collagen fibres creates a layer of a material known as ‘reconsti-tuted parchment’. This article summarizes experience of the techniquegleanedfrom20years’practice inaworkshopspecializinginparchmentrestoration. Particular emphasis is placed on the fabrication of this fibresuspension: several modifications are presented, and its application to avariety damage types is described. The classic technique of wet-castingon to the object as well as the application of prefabricated ‘reconstitutedparchment’withvariousadhesives isdiscussed,as isdyeingofthe infill.

Resume

«Le colmatage du parchemin revisite»En 1992, une equipe travaillant avec Jan Wouters a developpe unemethode de comblement des lacunes sur des parchemins tres endom-mages en utilisant un procede similaire a celui utilise pour le papier.Une suspension de fibres de collagene d’origine animale appliqueesur une table aspirante creee une couche de matiere connue comme «parchemin reconstitue ». Cet article resume les experiences sur cettetechnique, glanees au cours de 20 ans de pratique dans un atelierspecialise dans la restauration du parchemin. Un accent particulierest mis sur la fabrication decettesuspension fibreuse : plusieurs alterna-tives sont presentees et son application a plusieurs types de dommagesest decrite. La technique classique de formation humide sur l’objet lui-meme et l’application de parchemin prefabrique avec de multiplesadhesifs sont presentees, de meme que la teinture du comblement.

Zusammenfassung

,,Pergament anfaserung aufgefrischt“1992 entwickelte eine Gruppe um Jan Wouterseine Methode zur Ergan-zung von stark beschadigten Pergamentobjekten, die dem bei Papier-objekten gebrauchlichen Prozess der Papieranfaserung sehr ahnlich

ist. An einem Saugtisch wird mithilfe einer Suspension von Kollagen-faserntierischen Ursprungs eine Materialschicht erzeugt,die ,,rekonsti-tuiertes Pergament“ genannt wird. Dieser Artikel fasst die Erfahrungenzusammen, die sich wahrend der 20-jahrigen Anwendung dieserTechnik in einer Werkstatt gesammelt haben, in der man sich auf diePergamentrestaurierung spezialisiert hat.Besondere Betonung liegt auf der Herstellung der Fasersuspension,verschiedene Modifikationen werden prasentiert, und die Anwen-dung bei einer Reihe von verschiedenen Schadensbildern demon-striert. Die klassische Methode, bei der direkt am Objektangefasert wird, die Anwendung von vorfabriziertem rekonstituier-ten Pergament mit verschiedenen Klebstoffen, sowie die Einfarbungdes Infills werden diskutiert.

Resumen

“Revision de la reintegracion en pergamino”En 1992, el equipo de trabajo de Jan Wouters desarrollo un metodopara rellenar las perdidas en pergaminos muy danados utilizandoun proceso similar al que se utiliza para el papel. En la mesa desuccion una suspension de fibra de colageno, originalmente deanimal, se crea una lamina de un material conocido como “pergaminoreconstituıdo”. En este artıculo se resume la experiencia de esa tecnicarecogida durante 20 anos de practica en ese taller especializado en larestauracion de pergaminos. Se hace especial hincapie en la elabora-cion de la suspension de estas fibras, se presentan las diferentes mod-ificaciones y se describe su aplicacion a una variedad de tipos dedanos. Se discute la tecnica clasica de la fundicion humeda sobre elobjeto y, tambien, la aplicacion de un “pergamino reconstituido” pre-fabricado con diversos adhesivos ası como el tenido del relleno.

Biography

Kerstin Forstmeyer trained in the restoration workshops at the Guten-berg Museum, Mainz and the Schiller National Museum/German Lit-erature Archives, Marbach am Neckar. She carried out diploma studyattheInstituteofConservationSciences,UniversityofAppliedSciences,Cologne. In1994she joinedtheInstituteforPreservationofArchivalandLibraryMaterial,Ludwigsburgasaconservator.Since1996shehasbeenteam leader in bookbinding, vellum and seal restoration.

Materials and suppliers

Braun Multiquick 5 MR 530 BabyImmersion Mixer:Braun GmbHFrankfurter Str. 14561476 Kronberg/TaunusGermany

Calcium carbonate, pigments, Tylose MH300:Kremer PigmenteFarbmuhle88317 Aichstatten/AllgauGermany

Cedarwood box, Hollytex, Selladermleather dyes:Gabi KleindorferAster Str. 9/Kapfing84186 VilsheimGermany

Hide powder:Franz HoffmannTh. SchmidtSchwabstr. 36B70197 StuttgartGermanyorBLC Leather Technology Centre LtdLeather Trade HouseKings Park RoadMoulton ParkNorthampton NN3 6JDUK

Iron gall ink test paper:Preservation Equipment LtdVinces RoadDissNorfolk IP22 4HQUK

Restauro Anfaserstoff Natur Zerkall:Romerturm Feinstpapier GmbH & Co. KGAlfred-Nobel-Straße 1950226 FrechenGermany

Contact address

Kerstin ForstmeyerInstitut fur Erhaltung von Archiv- undBibliotheksgut Schillerplatz 1171638 LudwigsburgGermanyEmail: [email protected]



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