Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.1956289
Caroline Danforth
ABSTRACT Art in Translation (AIT, www.artintranslation.org) is a quarterly e-journal that publishes scholarly art historical texts in English translation. Issue 13.4 (2021) features four texts about parchment and marks AIT’s inaugural foray into technical art history. The works, authored between the eighteenth and twentieth centuries, were penned by authors possessing either comprehensive theoretical knowledge or direct practical experience. The selection of texts was informed by conservation and biocodicology experts. The translations were completed by Gay McAuley, Caroline Danforth, and Andrew Griebeler with considerable feedback and assistance from a variety of experts. Collectively, these translations make fascinating and significant works about parchment’s history, manufacture, and use more accessible for generations to come.
《翻译中的艺术》(Art in Translation, www.artintranslation.org)是一份每季出版的电子期刊，主要出版英文翻译的学术性艺术史文本。第13.4期(2021年)收录了四篇关于羊皮纸的文章，标志着美国在台协会首次涉足技术艺术史。这些作品创作于18世纪至20世纪之间，作者要么拥有全面的理论知识，要么拥有直接的实践经验。文本的选择由保护和生物生物学专家提供信息。这些翻译是由盖伊·麦考利、卡罗琳·丹福斯和安德鲁·格里贝勒完成的，得到了许多专家的反馈和帮助。总的来说，这些翻译作品对羊皮纸的历史、制作和使用都很有吸引力，也很有意义，更容易为后代所理解。
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.2020561
H. Voorheis
{"title":"Anthony Gerald Cains, a Retrospective","authors":"H. Voorheis","doi":"10.1080/18680860.2021.2020561","DOIUrl":"https://doi.org/10.1080/18680860.2021.2020561","url":null,"abstract":"","PeriodicalId":16666,"journal":{"name":"Journal of Paper Conservation","volume":"870 1","pages":"18 - 19"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90366337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.2007040
Nancy K. Turner
ABSTRACT The permanence of parchment, its salvage-ability and persistence, is demonstrated by the centuries-long tradition of medieval parchment repair. Some conservators of rare books and manuscripts, including Anthony Cains, have recommended parchment be repaired with parchment, paper with paper. This contribution contrasts Cains’s method for parchment repair with late medieval parchment repair techniques. Medieval scarf-joinery, a technique not recommended as modern conservation practice for reasons outlined, ought to be better recognized in medieval manuscripts as interventions that go well beyond repair. With examples ranging in date from the thirteenth to the fifteenth centuries, medieval scarf-joined parchment repairs are appreciated for their invisibility and as sites for embellishment and concealment. By revealing the presence of these repairs, we might better recognize issues affecting a manuscript’s condition while understanding the purposes to which scarf-joinery methods were deployed. As expressions of craft refinement and as evident ‘workmanship of risk’, late medieval scarf-joined parchment repair techniques are appreciated not as ancillary to a manuscript’s production, but as sometimes even central to its original construction.
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.1983742
W. Vaughan
The Conservation Laboratory was opened on 29 May 1974 by the Provost, A. J. McConnell. Michael Viney’s report in the Irish Times mentioned that the technical director was Anthony Cains, and that Sir Frank Francis, the former director of the British Museum, spoke of the changes that had led to the conviction that the conservation of books and manuscripts should be taken as seriously as conservation in ‘the fine arts’ (Simmons, 1978). There are fuller accounts of Francis’s speech in the papers of the Conservation Laboratory itself, a collection consisting mainly of Cains’s papers. Francis’s most topical point was that the flooding of the Arno in 1966, when mud and water damaged over a million volumes in the Biblioteca Nazionale Centrale in Florence, revealed the shortcomings of conservation techniques: there was a ‘distressing’ lack of information on how to treat damaged books, little was known about the historical development of ‘book structure’, and ‘there was also a lack of universal acceptance of standards on the individual stages of restoration’. Cains had been Technical Director of Conservation at the Biblioteca Nazionale Centrale di Firenze from 1967 to 1972, where he had supervised a staff of ninety. The Keeper of Manuscripts, William O’Sullivan, who was not mentioned in Viney’s report, went over much the same ground as Francis in an article in Trinity Trust News; he described how he had gone to see Cains in Florence after the flood:
保存实验室于1974年5月29日由教务长A. J. McConnell开放。Michael Viney在《爱尔兰时报》上的报道中提到，技术总监是Anthony Cains，大英博物馆的前馆长Frank Francis爵士谈到了这些变化，这些变化使人们相信，书籍和手稿的保护应该像“艺术品”的保护一样被认真对待(Simmons, 1978)。保存实验室本身的论文中有关于弗朗西斯演讲的更完整的描述，这是一个主要由凯恩斯的论文组成的文集。方济各最受关注的观点是1966年阿诺河的洪水，当时的泥和水损坏了佛罗伦萨国家中央图书馆的100多万册图书，暴露了保护技术的缺陷:关于如何处理受损书籍的信息“令人痛苦”缺乏，对“书籍结构”的历史发展知之甚少，“在修复的各个阶段也缺乏普遍接受的标准”。1967年至1972年，凯恩斯在佛罗伦萨国家中央图书馆担任保护技术主任，在那里他管理着90名工作人员。文尼的报告中没有提到手稿保管人威廉·奥沙利文，他在《三一信托新闻》的一篇文章中与弗朗西斯的观点大致相同;他描述了洪水过后他是如何去佛罗伦萨看该隐的。
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.1982640
É. Lévêque
I never had the opportunity to meet Tony Cains, although of course I knew who he was -but who doesn’t?! During 2010-2012, I worked in the National Library of Ireland as a Heritage Council intern. I was working with Matthew Cains. The lab didn’t have a dedicated book conservator at the time so only basic tools were available; as a result, Matthew would ask Tony which of his tools would suit best the purpose of my work, and conveniently borrow them for me. I was being loaned things that were in every book conservator’s studio, such as clips to flatten parchment, tying-up boards, etc., but these tools stood out, because they were all perfect for the task I was doing! In terms of materials, design, manufacture, everything. They were a mixture of tools custommade by Tony, or modified by him, or just bought somewhere, but always perfectly adapted to their purpose. I think you would still struggle to find tools of this quality anywhere, even from the best suppliers. Because of this, I wanted to explore the studio he had set up at home and get the people who knew his work best Matthew Cains and John Gillis, to tell me the stories behind the objects. This selection of Tony’s tools presented here reflects what could have been a motto of “do the job well or not at all”. I’m immensely grateful to Matthew for opening the door of memories and for digging to help us find as many treasures as possible, and to John to whom I had sold the project as in need of a bit of help but who ended up spending hours looking for photographs and writing captions (Figures 1–31). Elodie Lévêque Captions: John Gillis, Matthew Cains and Elodie Lévêque.
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.1997531
Paula Voorheis
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2022.2027731
Abigail B. Quandt
ABSTRACT The materials, tools and techniques that were developed and used by Tony Cains for the treatment of parchment manuscripts at the Library of Trinity College Dublin (TCD), are the focus of this article. The insights that he gained either directly from Sandy Cockerell, or from Roger Powell through his work on TCD and Royal Irish Academy (RIA) manuscripts, is also discussed. Examples are given of parchment manuscripts treated by Cains or his staff, and by the author while an intern at TCD and afterwards at the Walters Art Gallery under his continued mentorship.
本文重点介绍了托尼·凯恩斯(Tony Cains)在都柏林三一学院图书馆(TCD)处理羊皮纸手稿时所使用的材料、工具和技术。书中还讨论了他直接从Sandy Cockerell或Roger Powell那里获得的见解，这些见解是通过他对TCD和皇家爱尔兰学院(RIA)手稿的研究获得的。本文给出了由Cains或他的工作人员处理的羊皮纸手稿的例子，以及作者在TCD实习期间和之后在他的持续指导下在沃尔特斯美术馆(Walters Art Gallery)处理的例子。
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.2009315
K. Eckstein
ABSTRACT The Sacramentary from the Verdun Cathedral Treasury (Munich, Bavarian State Library, Clm 10077), also known as Fuldaer Sacramentary, was written and illuminated in the late 10th century and has one of the rare treasure bindings which have come down to us. Due to damage in the spine area, a significant handling problem made digitization and exhibition impossible. The first part of the article gives an insight into the history of the binding. The careful examination showed the many details essential for its historical classification. Based on this analysis, an attempt was made to distinguish between the parts of the Ottonian period, the alteration in the 14th century and the repair treatment in the eighteenth century. To avoid alterations and ambiguities concerning future scientific questions, it was imperative to preserve the original integrity of the binding as far as possible. The second part of the article presents the adequate conservation concept.
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Pub Date : 2021-10-02DOI: 10.1080/18680860.2021.2060661
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