Background: A rare 15th century Armenian gospel from the Verin Noravank Monastery in Siwnik was acquired with special funds by the Library of Congress in 2008. Following its arrival, the beautifully illuminated manuscript has been the subject of an in-depth technical study, which arose primarily out of the need to preserve the four miniatures of the Evangelists and the decorative illuminations in the text. Upon initial examination in the Conservation Division, some deterioration in the miniatures was evident. Therefore, characterization of the manuscript components, including paper, sizing, ink and pigments, was undertaken collaboratively by the Conservation Division and Preservation Research and Testing Division, in consultation with the curatorial staff, to help create a preservation plan for the manuscript. More specifically, technical analysis was undertaken to identify the materials used in the preparation of these miniatures and the mechanisms underlying visible deterioration. Analysis will inform the intended conservation treatment and handling decisions, and also throw new light on the materials and palette of the medieval Armenian monastic artist.
Above: Two illuminated pages from the Verin Noravank Gospels (Gospel of Mark: left page: Folio 77 verso; right page: Folio 78 recto)
Technical Analysis: Technical analysis to date includes a suite of highly complimentary techniques. Initially analysis was completely non-invasive and included X-ray fluorescence spectroscopy (XRF) and hyperspectral imaging. Non-contact, non-invasive X-ray diffraction (XRD) was also conducted in collaboration with the Getty Conservation Institute. These analyses led to non-destructive Fourier-transform infrared microscopy (μFTIR), scanning electron microscopy/energy dispersive spectroscopy (SEM/EDS), and microX-ray diffraction (μXRD) analysis of a limited number of microsamples in order to answer questions surrounding pigment identity and deterioration mechanisms.
To date, the study has produced some exciting results, including identification of unusual and rare pigments, including tin white (tin oxide, SnO2); a blue pigment mixture of cobalt glass (smalt), ultramarine and possibly indigo; and a mixed red lead-vermilion pigment. The use of these pigments suggests ingenuity on the part of the artist, as well as the influence of Near Eastern and indigenous ceramic and textile technologies. Dissemination of the initial results of the technical study is planned through an upcoming international conservation conference and publication.
Above: Detail of blue and white pigmented area (above) and XRD pattern of micro-sample of white pigment matching tin oxide (below).
