A Method of Extracting Papyri from Cartonnage Author(s): Margot M. Wright Reviewed work(s): Source: Studies in Conservation, Vol. 28, No. 3 (Aug., 1983), pp. 122-126 Published by: International Institute for Conservation of Historic and Artistic Works Stable URL: http://www.jstor.org/stable/1506114 . Accessed: 19/12/2012 16:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . International Institute for Conservation of Historic and Artistic Works is collaborating with JSTOR to digitize, preserve and extend access to Studies in Conservation. http://www.jstor.org This content downloaded on Wed, 19 Dec 2012 16:19:04 PM All use subject to JSTOR Terms and Conditions
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A Method of Extracting Papyri from CartonnageAuthor(s): Margot M. WrightReviewed work(s):Source: Studies in Conservation, Vol. 28, No. 3 (Aug., 1983), pp. 122-126Published by: International Institute for Conservation of Historic and Artistic WorksStable URL: http://www.jstor.org/stable/1506114 .
Accessed: 19/12/2012 16:19
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
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Abstract-The removal of papyri from cartonnage (Egyp- tian mummy cases) is accomplished by facing the object with a tissue coated with pressure-sensitive adhesive, after which the gesso on the inside of the object is removed by means of an enzyme solution. After the removal of the layers of papyrus, the object is backed with Japanese tissue and the facing layer is removed. The object of the treat- ment is to remove the papyri without loss of text while maintaining the visual and aesthetic appearance of the original cartonnage.
1 Introduction
Cartonnage, a specific type of Egyptian mummy case, is of archaeological importance, as well as being aesthetically pleasing. It comprises layers of linen and/or papyrus and gesso, the outermost layer of gesso being painted and, in some cases, partially gilded. When present, cartonnage lies adjacent to the mummy wrappings; small pieces are often sec- ured by the outer mummy bindings. Cartonnage objects occur in diverse forms which may be broadly classified as two-dimensional, e.g. pectorals (chest covers) and 'aprons' (leg covers), or three- dimensional, e.g. foot-cases, masks (Figure 1) and body cases. The latter completely envelop the mummy.
The layers of papyrus are of significance in that many are re-used documents, literary, secular or theological, written in scripts such as hieratic, demo- tic or Greek. In the past, the extraction of such documents for papyrologists to transliterate and interpret has resulted in the destruction of the car- tonnage [1-8]. In the light of present knowledge, Egyptologists do not consider this to be an accept- able practice except when an object is already greatly damaged.
Zimmermann and Harrauer [9, 10] have sepa- rated the papyri from cartonnage by adapting tech- niques originally developed for the conservation of wall-paintings. Their method relies upon the separa- tion of the paint layer from the outer surface of the object rather than the removal of the papyri from the inside; one consequence is that the paint layer splits leaving some of the painted gesso adhering to the papyrus [11].
Therefore, it appeared desirable to try to develop a technique to remove the papyri while protecting the outermost layer of painted gesso which could
Received 16 July 1982
then be supported in such a manner as to preserve the aesthetic appearance and form of the original object.
2 Experimental
2.1 Analysis ofgesso Initially, samples of gesso were removed from both linen and papyrus cartonnage (unprovenanced) for analysis. X-ray diffraction showed that they were mainly composed of calcium carbonate contami- nated with small amounts of salts such as calcium sulphate. Kleve, Stormer and Fosse [8] have confirmed the presence of small amounts of silica, magnesium, aluminium and iron while Lucas [12, p.4] concluded that gesso consisted of 'whiting and glue'.
The analyses [13, 14] of the binding material con- tained in the gesso indicated the presence of small quantities of collagen-derived protein and gum-like compounds. The latter may have derived from the sap of the papyrus [15, 16] but similar compounds were extracted [13, 14] from the gesso of linen car- tonnage which suggests that a substance such as gum arabic may have been used to cause the layers of linen and/or papyrus to adhere.
Figure 1 Front part of water-damaged cartonnage mask (Object UC. 36131, published courtesy of the Petrie Museum, University College London). Scale bar: 5cm.
122 Studies in Conservation 28 (1983) 122-126
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2.2 The facing material A series of trials was carried out to select a material suitable for facing the cartonnage. From these, Fieux Contact Adhesive Tissue proved to be the most effective in terms of ease of use, visual monitoring of the experiment and, in particular, sur- face contact. This tissue was developed for lining paintings [17] and consists of a silicone pressure- sensitive adhesive which may be coated upon differ- ent types of substrate, e.g. Japanese tissue, polyester gossamer, non-woven polyester tissue.
2.3 Preparation of the painted surface i- The surface of the object was gently brushed to
remove loose dust and dirt. ii - The paint layer was consolidated by the applica-
tion of several coats of 10% (by weight) Para- loid B-72 (an ethyl methacrylate copolymer) in acetone, each coat being allowed to dry before application of the following one. Care was taken to ensure that the polymer did not penetrate the papyrus layers causing them to bind together; loose flakes of painted gesso were laid in place; areas of exposed papyrus were covered with powdered talc to prevent the Fieux tissue from directly adhering to them.
iii - Fieux Japanese tissue or polyester gossamer was applied to the painted surface and contact estab- lished by gently tamping the whole area with a soft but firm brush. The tissue was lightly sprayed with white spirit to enhance adhesion and then left for 72 hours.
2.4 Method of extracting the layers of papyrus The results of the analyses [13, 14] of the gesso suggested the presence of small amounts of pro- teinaceous adhesive and it appeared advantageous to break down the adhesive by means of a non- specific enzyme. Enzymes have been used in paper conservation for some years [5, 7, 18-23] as well as in the conservation of paintings [24-26] but it was Wendelbo who pioneered their use to extract papyri [1-7]. The utmost care must be exercised when working with enzymes as they can be a hazard to health if mishandled, causing ailments such as asthma [27, 28].
Segal and Cooper [21], with reference to the removal of old repairs in paper conservation, util- ized a non-specific enzyme system which comprised
0.01% (by weight) Sigma Protease V buffered to pH
7.2-7.4 at 37-40?C as described below. This system
was used to attack the proteinaceous adhesive in the gesso to minimise the period of immersion of the cartonnage in the enzyme bath. However, in prac- tice, it was found that the pH could be maintained only by the addition of 1N (4% w/v) sodium hydrox- ide.
i - The experimental apparatus comprised a waterbath with adjustable thermostat in which there was a glass vessel which contained the enzyme solution. The enzyme solution was cir- culated by a peristaltic pump. In order to ensure that the enzyme solution remains at optimal activity, it is best to replace the solution, when the bath becomes cloudy, with a fresh solution maintained at temperature. It is possible that certain materials in the cartonnage may poison the enzyme. However, the use of fresh solution may alleviate this problem.
ii - Each prepared specimen was supported upon a nylon grid which could be held above the enzyme bath and the solution played upon the inner surface (Figure 2) or, alternatively, it could be immersed and the gesso removed with the aid of dental tools and by ejecting the enzyme solution from a syringe. The period of immersion was 10-20 minutes during which time the papyri either floated off or were 'teased' free.
iii - The papyri, supported by a nylon net, were removed from the bath, rinsed with distilled
~pT
Figure 2 Faced cartonnage in position above enzyme bath before removal of the interior layer of gesso.
Studies in Conservation 28 (1983) 122-126 123
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water, and then excess water was removed with filter paper. Any remaining gesso was removed by sandwiching the papyri between two layers of nylon netting, placing the whole upon an inclined glass plate, and then by spraying with distilled water (finely dispersed) from a pressur- ized container. The papyri were allowed to dry between sheets of filter paper under slight pres- sure to prevent curling.
iv - The object, now comprising a layer of painted gesso faced with the Fieux Contact Adhesive Tissue, was removed from the enzyme bath immediately after the papyri had been detached. It was rinsed with distilled water and excess moisture was absorbed by filter paper and then it was allowed to dry slowly until only slightly damp.
2.5 Method of backing It was decided that, because of its extensive use in paper conservation and its relative compatibility with papyrus, Japanese tissue would be a useful sup- port material for the layer of painted gesso; and that rice starch paste, which is easily reversible, would be used to attach the tissue. The choice of adhesive was dictated by the incompatibility of its solvent system with that of the consolidant applied to the paint layer and with that of the silicone pressure-sensitive adhesive. i -The gesso layer was coated with rice starch
paste and a dampened layer of a fine, easily manipulated Japanese tissue, Tonosawa laid paper, was placed next to the layer of gesso. This was gently manoeuvred until there were no air bubbles present and there was complete and continuous contact between the tissue and gesso.
ii - A second layer of a coarser, more robust Japan- ese tissue, Tengujo hand-made paper, was attached in a similar way to the Tonosawa tis- sue. The tissues and paste were allowed to dry.
2.6 The removal of the facing layer i- The backed object, fully dry, was exposed to
white spirit vapour for about 30 minutes. ii - A fine brush was used to lift off one corner of
the Fieux Contact Adhesive Tissue and the remainder of the facing tissue was gently eased off the painted surface with a brush wetted with white spirit. Any remaining gummy adhesive adhering to the painted surface was rolled off by the brush.
3 Conclusion
When the facing layer had been removed, no loss of paint from the surface of the object was observed
Figure 3 Backed cartonnage after removal of its Fieux Contact Adhesive Tissue facing, demonstrating that no loss of pigment had occurred.
(Figure 3). The method is long and somewhat intri- cate because of the nature of the cartonnage, which in itself is very fragile. There are many examples of cartonnage which, due to lack of proper support and storage, show evidence of collapse and loss of the outer layer of gesso as well as being weakened by insect infestation, ancient and modern.
This method has been developed using small pieces of cartonnage, the maximum size being approximately 5cm by 6cm. The major task was to find an efficient system which enabled the papyri to be removed without loss of text and which preserved the layer of painted gesso without loss. It should be possible further to develop the technique to separate larger areas and, using support techniques developed in the field of conservation, to remove papyri from cartonnage of more complex form. Fieux Contact Adhesive Tissue would appear to be a useful tool with the possibility of wider application in conservation.
Finally, a few words of caution: the purist may believe that the extraction of papyri from carton- nage is ethically unacceptable but this must be weighed against the value of the documents
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extracted, which is almost always unknown until they have been studied by the papyrologist. Furth- ermore, the fact that little in-depth study has been made of cartonnage supports its continued preserva- tion rather than its destruction. Although the vast majority of cartonnage objects are in need of con- servation, this process might, in many cases, conceal evidence or contaminate, and render invalid, sam- ples removed for scientific investigation.
Acknowledgements I would like to thank Mr R. White of the National Gallery for analysing the binding material in the gesso, Mr Robert E. Fieux for providing the samples of Fieux Contact Adhesive Tissue and Professor H. S. Smith for allowing me to work with samples of cartonnage from the Petrie Collection, University College London. I would also like to thank Miss E. M. Pye and Dr N. J. Seeley of the Department of Archaeological Conservation and Materials Science, University of London Institute of Archaeology, for reading this manuscript.
Technical data Fieux Contact Adhesive Tissue: Fieux Restoration
Laboratory Inc., 263 Cedar Street, West Barnstable, MA 02668, USA.
Sigma Protease P5005 Type V (now replaced by Protease P5147 which has approximately four times the activ- ity of P5005): Sigma London Chemical Co. Ltd, Fancy Road, Poole, Dorset BH17 7NH, UK.
Buffer solution (all compounds 'analar grade'): sodium dihydrogen orthophosphate (m.w. 156), NaH2PO,.2H20, 1.22g per litre of distilled water; disodium hydrogen orthophosphate (m.w. 142), Na2HPO,, 1.73g per litre of distilled water; sodium hydroxide (m.w. 40), NaOH, 40g per litre of distilled water; British Drug Houses Ltd, Freshwater Road, Chad- well Heath, Dagenham, Essex RM8 1RZ, UK.
Rice starch paste: mix one part of rice starch with four parts distilled water until a smooth paste is formed. Cook paste in double boiler, stirring, until it bubbles. Cool and use. Starch (Rice GPR): BDH Chemicals Ltd, Broom Road, Parkstone, Poole BH12 4NN, UK.
Japanese papers: (H34J Tonosawa dark toned laid, H1MJ Tengujo hand-made): Falkiner Fine Papers Ltd, 117 Long Acre, London WC2E 9PA, UK.
References 1 WENDELBO, 0., 'Extraction of papyri from gesso car-
tonnage: a new method based on an enzymatic approach' in 14th International Conference of Papyrology, Oxford, 24-31 July 1974, Proceed- ings, ed. by P. J. PARSONS, J. R. REA and E. G. TURNER, Graeco-Roman Memoirs no. 61, pub- lished for The British Academy by the Egypt Exploration Society, London (1975) 337-340.
2 WENDELBO, 0., 'The freeing of papyri from carton- nage', Restaurator 2 (1975) 41-52.
3 WENDELBO, 0., 'The removal of papyrus from gesso cartonnage with some remarks on the separation of glued papyri', Symbolae Osloenses 50 (1975) 155-157.
4 FLOOD, P. F., and WENDELBO, 0., 'The enzymatic extraction of papyri from cartonnage', Restaurator 2 (1975) 53-59.
5 WENDELBO, 0., The Use ofProteolytic Enzymes in the Restoration of Paper and Papyrus, University Lib- rary of Bergen (1976).
7 WENDELBO, 0., 'The enzymatic scalpel--on the use of proteolytic enzymes in the restoration of paper and papyrus' in Research in Norway 1977, ed. by M. S. MORTENSEN, Norwegian Research Council for Sci- ence and the Humanities, Oslo (1977) 9-15.
8 FOSSE, B., STORMER, F. C., and KLEVE, K. 'An easy and cheap method of removing papyrus from gesso cartonnage', Symbolae Osloenses 56 (1981) 173- 179.
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10 STOHLER-ZIMMERMANN, A., 'Das Abloesen der Malerei von Mumienkartonagen' in 16th Interna- tional Congress of Papyrology, Columbia Univer- sity, 24-31 July 1980, Proceedings, ed. by R. S. BAGNALL, G. M. BROWNE, A. E. HANSON and L. KOENEN, American Studies in Papyrology, Vol. 23, Scholars Press, Chico, California (1981) 665-676.
11 MAEHLER, H., 'A new method of dismounting papyrus cartonnage', Bulletin of the Institute of Classical Studies 27 (1980) 120-122.
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14 MILLS, J., and WHITE, R., 'Organic mass- spectrometry of art materials: work in progress', National Gallery Technical Bulletin 6(1982) 3-18.
15 REYNOLDS, T., 'Adhesive substances in Cyperus papyrus L.', Chemistry and Industry 17 (1967) 704-705.
16 HEPPER, F. N., and REYNOLDS, T., 'Papyrus and the adhesive properties of its cell sap in relation to paper-making', J. Egyptian Archaeology 53 (1967) 156-157.
17 FIEUX, R. E., 'Electrostatic hold: a new technique of lining' in ICOM Committee for Conservation 5th
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22 GRATTAN, D. W., ST HILAIRE, J., BURGESS, H. D., and MCCAWLEY, J. C., 'The characterisation of enzymes for use in paper conservation' in Interna- tional Conference on the Conservation of Library and Archive Materials and The Graphic Arts, Cambridge, 21-26 September 1980, Abstracts and Preprints, ed. by G. PETHERBRIDGE, The Society of Archivists and The Institute of Paper Conserva- tion, London (1980) 6-13.
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MARGOT M. WRIGHT, postgraduate student researching papyrus and cartonnage in the Department of Conserva- tion and Materials Science, University of London Institute of Archaeology. BSc in Food Science, University of Strath- clyde, and BA in Archaeological Conservation, University of London Institute of Archaeology; formerly worked upon analysis of foodstuffs and new product development in the food industry. Author's address: Institute of Archaeology, 31-34 Gordon Square, London WC1H OPY, UK.
R6sum6---La depose des papyrus provenant de carton- nages (sarcophages de momies 6gyptiennes) s'effectue en applicant un tissu impr6gn6 d'un adh6sif sensible i la pres- sion; le gesso de l'interieur de l'objet est ensuite enlev6 par une solution d'enzyme. Apris la d6pose des couches de papyrus, I'objet est doubl6 d'une feuille de papier Japon et la couche appliqu6e en surface est enlev6e. L'objectif du traitement est d'enlever les papyrus sans perdre le texte et en gardant au cartonnage son apparence esth6tique originale.
Auszug--Die Entfernung von Papyri von Kartonnage (agyptische Mumienhiillen) wird durch Bedeckung des Objektes mit einem mit Selbstkleber beschichteten Gewebe bewerkstelligt, wonach die Mischung aus Gips- mortel und Klebstoff auf der Innenseite des Objektes mit- tels einer Enzymlosung entfernt wird. Nach Entfernung der Papyrusschichten wird das Objekt mit Japangewebe hinterlegt, und die Deckschicht wird entfernt. Ziel der Behandlung ist die Entfernung der Papyri ohne Texturver- lust unter Erhaltung des visuellen und Asthetischen Aussehens der Originalkartonnage.
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