Back in October of 2024, we received something slightly more unusual from the Cincinnati and Hamilton County Public Library, a 15-foot-long, hand-drawn rolled map of the Allegheny River. Yes, fifteen feet. This map was created by joining smaller sheets edge-to-edge, forming one continuous scroll that looked more like a treasure map than your typical library item.
Before Treatment – 15ft rolled map as it was received.
A dilemma quickly followed, how do I create a housing solution that’s safe and functional, but won’t turn future handling into a logistical nightmare? Like many libraries, they didn’t have a 15-foot shelf just waiting for this (because who does?), so storing it flat was out. Storing it rolled became our only real option. The enclosure needed to be secure and protective for the map, and ideally, easy and elegant to display when needed.
First things first, some stabilization treatment. Before tackling the housing design, the scroll underwent conservation treatment to mend small tears and fill losses, particularly at the “beginning” and “end” (depending on which direction you follow the river). Once stabilized, it was ready for some housing trials.
Before Treatment – Large loss and tear at one end.After Treatment – Large loss repaired and map rolled around the polyester cylinder core.
While researching solutions online, I stumbled upon a fantastic blog post by J.M. Iacchei from the Cornell University Library Conservation Lab (link here). Their approach to scroll housing was clever, practical and elegant, and it just gave me the spark I needed to create our own version.
Here is how we rolled:
A support core – To give the scroll structure while rolling, I created a polyester cylinder core with a polyethylene sling. The sling supports one end of the scroll as it begins to wrap around the core, providing gentle guidance and protection as you start to roll the map. The map can be easily inserted into the sling to begin rolling.
Polyester cylinder core with a polyethylene sling to secure one end of the map.The end can be easily inserted into the sling and supported as the map is rolled around the polyester core.
Protection of the ends – The opposite end of the scroll was placed into a soft, transparent polyethylene pocket. It’s flexible, unobtrusive, and doesn’t need to be removed, even during after treatment photography.
The other end of the map is protected with a polyethylene pocket that is flexible and offers support to the fragile end of the map.
Keep it rolled – Once fully rolled, the scroll was secured with a polyester belly band. The polyethylene pocket helped protect the scroll surface from any abrasion caused by the belly band.
The rolled map is secured with a polyester belly band.
Display ready? – For display,I built a removable tray that cradles the rolled scroll without letting it rest directly on a surface. This tray doubles as a mini display platform, so the scroll can be partially unrolled and supported during handling and exhibit. Functional and elegant.
Display tray that offers support to the rolled map for long term storage.
I also tested a few other methods along the way, like supporting the entire scroll in a single 15-foot polyester sheet or sandwiching it between two. But the seams where the map’s original sheets were joined caused additional creases with those solutions. In the end, supporting the scroll in its entirety just wasn’t viable, so I pivoted to protecting the ends and letting the core do the heavy lifting.
Also: cutting two 15-foot-long sheets of Mylar by hand? Let’s just say I don’t recommend it… and I definitely don’t miss it.
A housing treatment that I have recently taken on led me to getting some hands-on experience with one of the newer tools to arrive at the lab: The Hercules Cordless-Battery Operated Hot Wire Table from Hercules Cutters.
Figure 1: The Hercules Cordless-Battery Operated Hot Wire Table
The Difficulties of Cutting Foam
We have typically performed foam cutting at the lab using either a hand-held blade like an Olfa or scalpel, a board shear, or in some cases a hand-held saw. While these methods can be somewhat satisfactory, they are none without their limitations. Cuts with a hand-held blade often look sloppy, especially if the foam needs to be stacked; the compressible nature of foam makes it very difficult to make accurately measured cuts this way, and the inaccuracies become glaringly obvious when trying to stack multiple seemingly same sized pieces for thick fills inside an enclosure (something I often need to achieve!).
Figure 2: The minor inaccuracies of hand-cut foam become obvious when the pieces are stacked. Notice the unevenness along the edge of this stack of Plastazote foam. Plastazote, as well as a thinner foam called Volara, are among the most commonly used foams we utilize at The Preservation Lab.
A board shear is quick and offers a measuring guide to provide accurately measured cuts, but the edges where the blade slices through the foam often end up rounded or otherwise distorted.
Figure 3: The downward cutting motion of a board shear can often leave the edge of foam looking rounded or otherwise distorted, as can be seen on this piece of Plastazote.
Finally, cuts with a saw can leave a mess and the teeth can leave a sloppy looking edge on the foam.
Figure 4: This stack of Plastazote was cut with a saw. A saw’s teeth can leave a very messy edge when cutting through foam.
The Hercules Foam Cutter: Basic Features and Operation
The Hercules foam cutter uses a different approach. It heats up a filament wire that is pulled taught vertically through the device. While the wire it hot, foam is drawn through the wire to accurately and cleanly (with a little practice) slice through it.
Figure 5: A stack of Plastazote is pulled through the hot filament wire to make a clean cut.
The heat can be engaged in one of two ways: with the power switch turned to “On” mode, the wire stays hot until it is turned off; when the switch is set to “Foot pedal mode”, the wire only heats up while the included foot pedal is pressed. There is an adjustment knob allowing the user to control the temperature of the wire. In general, after experimenting a bit it seems that the thicker the foam, the hotter the wire needs to be.
Figure 6: The Hercules Cutter’s heat controls.
The cutter includes an adjustable guide rail to aid in accurate cutting. The position of the spool that holds the wire is also adjustable, allowing for angled cuts to be made.
Figure 7: Cutting position adjustments of the Hercules Cutter.
Finally, there is an attachment that can be placed onto the guide rail allowing for circular cuts to be made.
Figure 8: The circle cutting attachment: the foam piece is impaled by the point of the attachment at the center point of the desired circle. The distance from the point to the wire will be the circles radius. Once the attachment is in position for the desired size of circle, the foam piece is rotated as the wire cuts through the foam until a complete circle is made.
Advantages
The Hercules Foam Cutter’s ability to cut stacked pieces of foam is by far my favorite and the most practical of its uses in my opinion. As previously mentioned, cutting inaccuracies become very noticeable when trying to stack multiple same sized pre-cut pieces of foam. With the Hercules Cutter, the foam pieces can be stacked/attached to each other before hand, and then cut to a uniform size. I was pleased to discover that the heated wire doesn’t seem to have any trouble cutting through multiple layers of foam that have been adhered together using double-sided tape and/or PVA. With a bit of practice, I was able to achieve neat, uniform chunks of foam that were several layers thick. I have found, however, that when cutting foam adhered together using double sided tape it is important to be mindful of where your points of adhesion are inside the stack of foam. It is possible to end up with a stack of foam that doesn’t have any tape holding it together after cutting.
Figure 9: A cleanly cut chunk of Plastazote 4 layers thick. Notice that the section that was cut off has fallen apart due to not having any double-sided tape in this section. Fortunately, this is not the piece I needed from this cut!
Also remember that the thicker the foam, the hotter the wire needs to be. There is a decal attached to the cutter with heat setting recommendations based on how thick the foam is, but the instructions (and also myself) recommend doing a few test cuts with scrap foam first to see what works, as different types of foam will respond differently to various heat settings. It shouldn’t require much pressure from the user to push the foam piece through the wire, and too much pressure will cause the wire to bend or even break; if this happens, the wire isn’t hot enough!
Figure 10: It is difficult to see as the wire is so thin, but it has snapped. The wire wasn’t hot enough and I had to apply too much pressure to pass this stack of Plastazote through it. Fortunately, there was plenty of wire remaining on the spool, and it was easily threaded back into its port.
I found the foot pedal to be a beneficial feature as well. Some types of cuts require the user to adjust their hand position mid-cut, and it is helpful to have the option to stop the flow of heat into the wire if such an adjustment needs to be made. The wire both heats and cools down almost instantaneously, which is also a nice touch.
Finally, the circle cutting attachment proved to be useful during a recent housing treatment. I needed to create a compartment in a piece of foam to store a commemorative medallion, and my attempts to cut a circle using a hand-held blade did not look good. I was very pleased with the results I achieved using the attachment, although it took several attempts to get my circle to have the correct diameter.
Figure 11: A circle cut into Volara foam using the circle cutting attachment with my previous attempts to make the cut by hand using a scalpal in the corner of the image.
Drawbacks
It should be noted that many components of the Hercules Cutter are made of plastic. While this makes it lightweight and portable, it causes some problems. The guide rail feels rather cheap, and even with all the screws secured tightly, the rail still has the potential to wiggle around a bit. This can make getting accurate cuts difficult. I did find that cuts still look better using the rail than doing them free hand, though.
Figure 12: Most of the components of the adjustable guide rail are made of plastic, giving them the potential to move slightly during use, even when tightly screwed down.
Another issue I had with the cutter lies in its cutting platform. There is centimeter grid on it for measuring/setting the guide rail which is a nice idea; however, I feel it would have been much more helpful to have millimeters indicated somewhere like board shears often do, as precision cuts rarely fall exactly on nice round centimeter measurements. The user is forced into one of three solutions: 1) measuring the foam and adding a tick mark to it, which is not as easy and one would think as foam isn’t very easy to make discreet marks in; 2) using a ruler or other measuring device to set the guide rail, which defeats the purpose of the cutting surface containing a measuring grid to begin with; 3) eyeballing the correct measurement between the grid marks. This parred with the already wobbly nature of the guide rail makes it somewhat challenging to make precision cuts.
Figure 13: Although the numbers represent millimeters, the grid lines on the cutting platform appear only every centimeter.
Finally, as the Hercules Cutter operates through a wire essentially melting foam, it can produce a somewhat unpleasant burnt-plastic smell while in use. It is recommended to use under a fume hood, outside, or in another well-ventilated area if possible.
Final Thoughts
As with all other methods of cutting foam, the Hercules Foam Cutter is not perfect. For making simple cuts in a single layer of foam, I still find using a board shear to be my preferred method; it is quick, easy, and the rounded edges left by the blade don’t bother me much if it is only a single layer of foam. However, the Hercules Cutter has become the default tool I use to cut stacked foam and to make circular cuts. It has been a fun tool to test out, and it is always possible that more practical uses for it will arise as I continue to make more custom and specialized enclosures.
Matt McCoy — Senior Library Conservation Specialist
This past Friday two of our Conservation Student Assistants received their bachelor’s degrees from UC! Congratulations Linh (Psychology) and Kristopher (Art History)!! We are so proud of both of you!
They both started in the Preservation Lab in January of 2022 and it has been so exciting to see them grow as students, members of our team and people over that time period!
On Friday I was tickled when Linh, who is leaving UC for grad school in Illinois to pursue a future as a therapist, reached out to me asking to come down to the Lab for a picture. I immediately let Kristopher know, suspecting that he might want to join in. Kristopher will be continuing on with us in the Lab, continuing his education at UC’s law school.
Linh and Kristopher then asked if I could snap some photos of them around the Lab…a request I could not turn down.
Moments like these are the true reminders of why being a student supervisor is so rewarding. To see students graduating, on the precipice of something new and big, and looking back at their time in the Lab with such fondness is really special and powerful. Congratulations to two amazing students! We wish you a smooth journey ahead through graduate school!
On Monday, April 7, the Archives and Rare Books Library along with the Elliston Poetry Room hosted a workshop with Rich Dana. Rich is a copier artist and founder of Obsolete Press, and he teaches at the University of Iowa Center for the Book and the Center for Book Arts in New York. The workshop covered obsolete duplicating technologies, which covered the mimeograph and hectograph.
The hectograph set up, Leisha Stanek demonstrating how it works!
Along with his assistant Leisha, a performance poet and publisher herself, Rich talked us through how to use these machines. The hectograph, also known as a gelatin duplicator, used gelatin in trays as the matrix. Master copies were created using spirit tattoo paper, then the master was pressed to the gelatin matrix. Once the design was down on the gelatin, a fresh sheet of plain paper was pressed to the gelatin matrix, and the design transferred over to the paper. This method can be used multiple times — we made at least twenty copies off it, and the fading was minimal!
The mimeograph we printed on. Rich applying ink to the mimeograph.
The mimeograph is an upright machine with a crank that picks up the paper and rolls it through the stencil. With a big roller that holds the stencil, the machine forces ink through the stencil and onto paper to create copies. The user must manually put ink on this machine before using it.
Getting to play with these two technologies was so much fun. We got to create our own stencils that we then made copies of and turned into a zine! We were able to use typewriters or styluses, stencils and our own creativity to create our stencils for these pages that we printed. It was amazing to see technology that’s not so modern still in use and working, and to play around with that technology and still use it to create was inspiring.
An alternate title to this blog could be, “That time we X-rayed medieval choir book at the UC Medical Center, and then the pandemic happened I forgot to write a blog post about it”. Oops!
Let’s rewind the story back to mid-2019, when our Associate Conservator, Ashleigh, expressed interest in radiography on a beautiful, oversized choir book from the Classics Library. I, at the time, was the Photographic Documentation Specialist and had never carried out or assisted with any radiography projects, so I was very keen to start reaching out to anyone I could think of on West and East campus who might have access to such equipment. The most logical answer, UC Health, proved to be the winning one when finally the Director of Diagnostic Radiology put me in contact with the Enterprise Director of Imaging, who said yes to my request, and ultimately put me in contact with my main contact for the project, the Radiology Manager at UC Medical Center.
The date was set, October 22, 2019. Ashleigh, Holly and I packed up the heavy, choir book and carefully transported it from West campus to East campus to be imaged. The UC Health staff were beyond friendly, and I think they got a kick out of imaging the oversized leather volume. The technician really worked with us to adjust the intensity of the radiography depending on what we were trying to capture, whether it was the cover, the sewing and the supports, or the illuminated text (which was a little harder to capture with their equipment).
Aligning the bookViewing the first imagesPositioning the coverThe technician position the equipment for the optimal scanAttempting to image the illuminated textRepositioning the volumeImaging the spineRepositioning the volume to image spine
Overall, we discovered…a lot of nails, split thong supports, and on the lower board, four mends to the wooden board that appear to be bracing a split in the wood that is running vertically.
Detail of lower board with cover openDetail of lower board with cover open
The larger red arrows indicate metal braces while the smaller red arrows indicate the crack in the wooden board.
Image of the spine which allows you to see the split thong supports and you can even see the tattle-tape security strip!
Then following the radiography session, they were kind enough to ask if we would also like to place the volume in the CT scanner. Since the scanner could easily and safely accommodate the volume while keeping it wrapped in foam, we jumped at the chance!
We received all the imaging files on two CDs from UC Health, and then I went about making heads and tails of it. The radiography images were fairly straightforward. For the most impactful imaging, namely of the spine, upper and lower boards, I created composite images using the panorama feature in Photoshop to merge the images. For example, each cover consisted of four separate images.
With the CT imaging, the CD came with a reviewer software (Sorna) to view the files. Frankly, the CT scans were a little bit harder to comprehend, but nonetheless interesting. Ultimately the CT scanner allows you to view the various materials within the object. Whereas normally for the equipment that was used that would mean bones, organs and tissues, for the choir book that meant metal material like brass, leather, ink and pigment. Within the viewer function there was also an interactive component to the CT data as well, which allowed you to manipulate various levels to see various intensities, but even after a lot of trail and error and experimentation I found it very confusing, though I did get some interesting, and some less impactful, results. Let’s just say, I do not have a future as a CT technician! I’ll stick to my day job.
With so much special collections materials going through the lab, sometimes I forget to appreciate the beauty of general collection items. No such problem with this beauty – a stenciled book cover with splashes of gold.
I love pochoir, screen printing, and risograph (the stencil arts), so was thrilled to see this Greek monograph from 1899. It really reminds one of the intense labor that goes into the production of even one book and the subtle difference apparent in each one.
Holly Prochaska, Head, Preservation Services & Lab at the University of Cincinnati
When a collection of Egyptian mummy bandage fragments at the Cincinnati and Hamilton County Public Library was found in an area used to store uncatalogued flat materials, the lab was asked to play a role in providing better stewardship.
Click the links below to jump to the following posts:
The textiles will remain in the enclosure for both storage and potential display
The matting system will support the fragments for handling and viewing
The fragments will not move or slide in the enclosure, yet be stored non-adhesively
Portfolio Matting System
Before constructing the final portfolio, models were created to test functionality. The first prototype was a helpful learning experience that lead to improvements in the final product.
In particular, I made one big change: rather than constructing the sink mat portfolio out of corrugated board, I used museum rag mat board. I also added a hinged window mat on top of the pillow. Below the window mat, notes or labels could be discretely added below so the object would be exhibit ready with no handling required.
A few other alterations included using 4-ply mat board for the inset board rather than 2-ply (I used the cut out from the window mat trimmed a bit smaller), and instead of using polyester webbing adhesive, I used Jade 403 PVA along areas where the construction materials did not come into contact with the textile.
Completed first prototype: a sink mat portfolio made out of museum rag board with an added window mat
The first model had many successful features; however, there were two main failures in its construction. These related to the cloth tie closures and Tyvek lining. Pros and cons in the construction were determined using a mock-up Egyptian textile fragment (made out of linen book cloth colored with acrylic paint and inscribed with Sharpie).
Pros:
The cover folds behind the backing board which is useful for saving space when on display.
The cotton/polyester pillow holds the textile in place non-adhesively with Velcro-like surface tension.
The cover’s inset board applies gentle compression that safely holds the textile in place when closed. The 4-ply board was the appropriate thickness for our thin textile.
Both the front and back of the fragment can be viewed without excess handling: If the portfolio is opened while laying face-down, the back of the fragment can be safely viewed while resting on the inside of the cover. Then the portfolio can be closed while still laying face down. Once closed, it can be flipped and reopened to the front. (See handling video below.)
Cons:
The cloth edge ties are cumbersome during handling. Ties showed potential to drape over and catch on textiles, becoming a potential for damage.
The soft Tyvek lining created such a strong static cling charge that the textile often became stuck to the cover lid when opened, posing a hazard of falling unexpectedly!
Nicole tests the portfolio finding the textile stuck to the inside of the cover upon opening due to static cling!
Improved Portfolio Model
Improvements to the second model included replacing the cloth ties with rare earth magnets and eliminating the soft Tyvek. A smooth, stiffer Tyvek was used instead. These changes proved highly successful and also felt more elegant!
It was a bit more time consuming to use rare earth magnets because the magnets were inlaid both to the cover and the hinged window. While creating the model, I learned to strategically use a stronger magnetic pull for the window so that when the portfolio was opened, the cover released preferentially. If you’d like to read step by step instructions about its construction, please check out my notes here.
Additional lesson learned: Be sure to double check how the magnets are oriented so they attract each other rather than repel!
Revealing rare earth magnets below the Tyvek lining and Tyvek tape to reorient them so they attract the opposing magnets rather than repel
Final Portfolio
This versatile portfolio facilitates storage, handling, and display as the cover can be folded behind the window and backing board.
Cloth Covered Clamshell with Trays and Chemise
Each fragment received a custom matted portfolio that then needed to be grouped appropriately and stored as a collection.
Overall, the collection of six fragments were stored together in a cloth covered clamshell, constructed by Conservation Specialist, Matt McCoy. We designed the enclosure as follows:
Each matted fragment sits on a custom support tray within the box because many portfolios varied in size and needed to be easily stacked.
To retain the context of the three fragments that belonged to a priest named Wennofer, these trays were grouped within the box inside a cloth-covered chemise.
Labels were added to the portfolios and trays for easy replacement into the custom trays.
This GIF shows the different layers within the enclosure system.
Curious on how these storage enclosures facilitate handling? Check out the video below for instructions on use.
If you missed the earlier installments, you can jump to the previous posts below:
When a collection of Egyptian mummy bandage fragments at the Cincinnati and Hamilton County Public Library was found in an area used to store uncatalogued flat materials, the lab was asked to play a role in providing better stewardship.
Click the links below to jump to the following posts:
History – Historical information provided about the Egyptian inscriptions
Treatment – How the materials were treated after learning about their content
Storage Solutions – Individual solutions for separated fragments as well as storage as a collection
Conservation Treatment Consultations
Being a primarily book, paper, and photograph conservator, working on textiles comes up only intermittently as minor stabilization or housing. When these projects do arise, I tend to consult immediately with a textile conservator. This project was no different. Generously, Obie from the Cincinnati Art Museum kindly visited the lab to look at the fragments with me in person.
Initial Treatment Idea
Before consulting with Obie, my initial plan was to cut the overall board and separate the individual fragments. Once separated, I thought I might hinge the fragments to a backboard inside a sink matting system. I had briefly corresponded with a textile conservator at the MFA Boston who is familiar with ancient textiles and she confirmed this would be a sufficient option.
Testing
However, with Obie present, together we tested the solubility of the adhesives and likelihood of removing the fragments from the acidic board for better storage. Surprisingly, we determined removal was possible with the smallest amount of moisture!
Being familiar with backing removals and conserving degraded cloth covers (and now encouraged after having Obie’s support) I next went beyond spot testing and decided to perform a test treatment on one of the fragments to remove the backing board… with the caveat that I would stop at any point if I felt uncomfortable. Should I ever feel out of my element at any step, or have concerns that removing the textiles from the backing would not keep them intact, I knew I could always pivot to my initial solution of storing the mounted parts in mats.
Treatment
My new plan was now to first reduce the acidic backing board layer by layer. Once the backing was removed, I would assess if it was appropriate to remove the brown paper lining. (While my test treatment was performed on only one of the smaller fragments, images below are pulled from the actual treatment for better illustration).
Low and behold on my first fragment, treatment proceeded without a hitch.
The board was removed slowly, layer by layer. The fragment was kept planar to prevent mechanical damage to the textile.
Before I knew it, it felt as though I was performing a regular backing removal on a photograph or document and soon found myself down to the final brown paper layer.
After removing multiple layers of board, the brown paper lining was revealed. Some areas of the brown paper were no longer adhered to the textile and readily released during mechanical removal while other areas remained more firmly attached.
At this point, with the backing and lining parts removed as much as possible, I decided to test a corner of the paper backing with light moisture. To my surprise, the paper backing adhesive quickly reactivated, the lining lifted with little effort, and the humidification strengthened the fibers of the linen fragment. All of this eased fears the fragments might fracture during final treatment steps. Proceeding with treatment felt obtainable.
The final step was releasing the brown paper lining with moisture from a water pen and lifting the lining with spatulas.
With this new turn of events, I realized, if I ventured so far as to remove both the mounted board AND the paper backing, I’d need a new storage solution.
I halted treatment and went back to the drawing board to research storage enclosures (click here to jump to my post on storage solutions). Once I felt confident in selecting a method of storage for the loose textiles, I resumed treatment to remove the brown lining paper and proceeded with treatment on the rest of the fragments.
This is a time-lapse video showing how the brown paper lining was removed in stages. Localized humidification was applied from the back while mechanically separating the paper from the textile with spatulas.
Before Treatment
Collection is mounted to an acidic board with two of the fragments oriented upside down.
Normal Illumination, Before Treatment
After Treatment
Fragments are stored individually in storage solutions that double as long-term housing. The enclosures facilitate handling as well as display. Being stored individually, the fragments are able to be grouped as necessary by their context.
Recto, Normal Illumination
Verso, Normal Illumination
Recto, Normal Illumination
Verso, Normal Illumination
Recto, Normal Illumination
Verso, Normal Illumination
Recto, Normal Illumination
Verso, Normal Illumination
Recto, Normal Illumination
Verso, Normal Illumination
Recto, Normal Illumination
Verso, Normal Illumination
Raking Illumination, Before Treatment
Recto, Normal Illumination, After Treatment
Raking Illumination, Before Treatment
Recto, Normal Illumination, After Treatment
Raking Illumination, Before Treatment
Recto, Normal Illumination, After Treatment
Raking Illumination, Before Treatment, Upside Down
Recto, Normal Illumination, After Treatment
Raking Illumination, Before Treatment, Upside Down
Recto, Normal Illumination, After Treatment
Raking Illumination, Before Treatment
Recto, Normal Illumination, After Treatment
To learn more about the storage, check out the final post of the four-part series: Storage Solutions!
If you missed the earlier installments, you can jump to previous posts using the links below:
When a collection of Egyptian mummy bandage fragments at the Cincinnati and Hamilton County Public Library was found in an area used to store uncatalogued flat materials, the lab was asked to play a role in providing better stewardship.
Click the links below to jump to the following posts:
History – Historical information provided about the Egyptian inscriptions
Treatment – How the materials were treated after learning about their content
Storage Solutions – Individual solutions for separated fragments as well as storage as a collection
Learning About the Collection
Before coming to the lab, the library knew little about the fragments. So first and foremost, I reached out to a handful of scholars to see if I could glean any information. I soon found myself engulfed in a journey of discovery with each colleague leading me to a new reference, sharing a collective wealth of knowledge.
History
With generous information provided by colleagues, the library learned the following about the fragments (fragment measurements below are with height and width at the widest points):
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Radiation
This is the center fragment. It contains Hieroglyphic script, measuring 21 x 23 cm. It’s part of a 3-piece set that belonged to a priest called Wennofer. The large scene in the middle belongs to Book of the Dead Spell 110 showing the deceased doing various things in the netherworld.
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Radiation
This is the upper left fragment. It measures 8 x 14 cm. Script contains images and no preserved text. This is part of the 3-piece set that also belonged to a priest called Wennofer. Images belong to the vignette of Book of the Dead Spell 148. “For making provision for a spirit in the realm of the dead” this spell provides the names of the Bull of Heaven and his seven cows, providing an eternal supply of food and beer.
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Radiation
This is the bottom right fragment. It contains Hieroglyphic writing and measures approximately 10 x 17 cm, containing a Thoth god image. It’s the final part of the 3-piece set that belonged to a priest called Wennofer. Preserved images are part of the vignette of Book of the Dead Spell 125, the so-called judgement scene.
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Illumination
This is the bottom left fragment containing Hieratic script, however it is oriented upside down. It measures approximately 13 x 12 cm. There isn’t an owner’s name preserved so we’re unsure if it belongs with any other fragments in this collection. Images contain a shrine column, sections of Book of the Dead Spells 125 and 126, as well as traces of the vignette belonging to Book of the Dead Spell 125.
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Radiation
This is the upper right hieratic fragment with Hieratic script. It measures approximately 9 x 7 cm. There is no owner’s name preserved.
Normal Illumination
Raking Illumination
Ultraviolet Fluorescence
Infrared Illumination
This is the bottom center hieratic fragment measuring 4 x 10 cm, also with no owner’s name preserved and oriented upside down.
Further Reading
Check out this essayfor Glencairn Museum News by Dr. Jennifer Houser Wegner to learn more about burial practices and in particular, funerary texts, such as the Book of the Dead.
To learn about how the fragments were treated in preparation for long-term storage, check out the third post of the four-part series: The Treatment
If you missed the earlier installment, you can jump to previous post using the links below (or even skip to the final post on storage):
