Conservation

Although the manuscript was in fair condition when it was acquired, some wear was evident on the binding and text block. Jennifer Robertson, Conservator at Book and Paper Conservation Services, assessed the condition of the manuscript and put forward a treatment plan to support the long-term preservation of the manuscript. For the binding, this included strengthening the structure of the binding, repairing exposed areas of the front cover board, repairing loss along the binding edge, and treating weakened areas of the leather binding. For the text block, this included light surface cleaning of the front and back endpapers, removing graphite marks on several pages, improving the adhesion of flaking pigment and ink, and reattaching a leaf which had become detached.

Strengthening the Binding

The inside front joint, between the cover and first page, was extremely weak.

The inner spine of the Noted Hymnal is shown coming off the pages.

Image of damage to inside front joint of the Noted Hymnal. Photo credit: Jennifer Robertson.

Jennifer Robertson adhered Japanese paper to the joint to strengthen the binding.

Jennifer Robertson adhering Japanese paper to the joint between the pages and cover of the Hymnal to strengthen the binding.

Image of Jennifer Robertson adhering Japanese paper. Photo credit: Jennifer Robertson.

The manuscript can endure more frequent use with a strengthened binding.

The Noted Hymnal now has a stronger binding attaching the cover to the pages.

Image after treatment to the inside front joint. Photo credit: Jennifer Robertson.

Adhering Pigment and Ink

The illumination pigment on the first page was beginning to flake off.

Illuminated pigment on the front page is flaking off.

Image of illumination pigment on the first page. Photo credit: Jennifer Robertson.

A solution was applied by brush to the flaking pigment to enhance the adhesion.

A small paintbrush is being used to apply an adhesive solution to the pigment.

Image of Jennifer Robertson treating the flaking pigment. Photo credit: Jennifer Robertson.

The illumination pigment is more securely adhered to the page.

The page of the Noted Hymnal with the illuminated pigment after the solution has been applied.

Image of treated illumination pigment. Photo credit: Jennifer Robertson.

Removing Graphite Markings

Graphite markings were visible on the rear endpaper. These markings were not contemporary to the manuscript and contained no evidential value.

Graphite markings are on the rear endpaper. These markings are not of anything specific and contain no evidential value.

Image of graphite markings on the rear endpaper. Photo credit: Jennifer Robertson.

Jennifer Robertson removed the graphite markings with a Staedler white eraser.

The graphite markings are being erased with a Staedler white eraser.

Image of Jennifer Robertson removing the graphite markings. Photo credit: Jennifer Robertson.

The removal of the graphite markings was successful and did not disturb the media on the page.

The rear endpaper now has no graphite markings and the media on the page is unharmed.

Image of treated rear endpaper. Photo credit: Jennifer Robertson.

Storage and Handling

Jennifer Robertson constructed a custom clamshell box to house the volume safely. The clamshell box was created to fit the Noted Hymnal exactly. This minimizes abrasion from movement while the manuscript is in transport.

The Noted Hymnal is sitting in a custom box created by Jennifer Robertson.

Image of the clamshell box beside the manuscript. Photo credit: Jennifer Robertson.

 

The Noted Hymnal is laid on a surface beside the custom made box which has a label on it that reads "Noted Hymnal".

Image of the manuscript inside the clamshell box. Photo credit: Jennifer Robertson.

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