Conservation workshops
Trained by the greatest specialists in the field, CEDOPAL's researchers continue the restoration and conservation of Liège papyri. We also offer restoration workshops as part of the Literary Papyrology (LCLA0044-1) and Documentary Papyrology (LCLA0062-1)courses, during which students learn the techniques of "ordinary" museum restoration and practice on the original pieces in our collections. In addition, restoration demonstrations are regularly offered to the general public during open house events at ULiège (Heritage Days, Researchers' Nights, etc.)
Papyrus conservation (by Antonio Ricciardetto)
There are two kinds of papyrus restoration:
- the in situ restoration of papyri discovered during excavation campaigns, notably in Egypt.
- restoration of papyri in the institutions (museums, universities, libraries, etc.) where they are kept.
Two types of intervention are then possible:
- the ordinary intervention, i.e. the removal of dust and the smoothing of the papyrus (to remove dust, to smooth), its flattening and drying (to spread, to dry), its placing under glass, or the cleaning of these, following the patina that the papyrus deposits on it over time (to frame).
- the extraordinary intervention, less frequent, on papyri from cardboard boxes or carbonized, or following bad conservation conditions (broken glass, mold, pollution, etc.).
Example of a museum restoration, of the ordinary type
Material Safety Data Sheet
After having previously placed the papyrus on a sheet of acid-free drawing paper, a data sheet is drawn up in which the characteristics of the papyrus are indicated (dimensions, state of conservation, origin, color, etc.), as well as the interventions to be carried out;
Dusting
The papyrus is first dusted with brushes, respecting the direction of the fibers; to remove lumps of sand and mud, sharp tools are used. In order to avoid soiling the papyrus, the drawing sheet must be changed regularly;
Humidification
The papyrus is then moistened, respecting the direction of the fibers, with a fine brush and distilled water. This operation softens the papyrus and makes its fibers less fragile; it can thus be unfolded (while removing the sand hidden in the splis), spread out completely, and put back in place the disordered fibers.
Drying and "ironing"
When the papyrus is fully spread, it is covered with a sheet of acid-free drawing paper and placed under weights. The papyrus is left to dry in this way for at least 24 hours, away from the sun and draughts. In the meantime, labels are made and placed under glass with the papyrus.
Putting under glass
Once the papyrus is dry and clean, the delicate operation of putting it under glass plates comes next. After having cleaned them, the label identifying the papyrus (name + number) is stuck on, then the papyrus itself (in the center of the glass if it is alone or according to a logical order, if there are several fragments), by means of one or two pieces of transparent sticky paper, very finely cut, and which must in no case be superimposed on the writing. It is also important to make sure that no fingerprints are left on the glass.
To avoid any displacement of the plates during the closing operation, they are fixed with clips. The edges are then sealed with opaque sticky paper, except for the corners (about five millimeters), to allow the papyrus to breathe (it is a plant!), while preventing access to dust. It only remains to decipher the text..
The restorer's tools
Dusting, unfolding
- brushes of various widths and hardness
- rule
- tongs and spatulas
- toothbrushes
- acid-free drawing sheets
- bellow
- distilled water
Extend, dry, identify
- acid-free drawing sheets
- transparent sticky paper
- weights
- labels
Framing
- paper tissues
- glass cleaner
- microfiber cloths
- pliers, scissors
- labels
- glasses
- transparent and opaque sticky paper
To document each step
- camera
- data sheet
