1 00:00:00,750 --> 00:00:05,910 Good afternoon, everyone. Lovely to see such a strong audience today. 2 00:00:06,270 --> 00:00:16,710 My name is Mahina. Listen, I'm the head of conservation and Heritage Things, which is a third of my type that's been recently acquired. 3 00:00:17,790 --> 00:00:24,750 Although that's quite a new position in the conservation department, where heritage science sits in the country libraries. 4 00:00:25,140 --> 00:00:34,410 We have been delivering scientific analysis, non-destructive scientific analysis of our collections for 12 years, 5 00:00:35,130 --> 00:00:44,790 and that started with the power back in the day when we moved into the woods, even as a as a department, as part of special collections. 6 00:00:46,620 --> 00:00:56,850 We have been operating on our income generating phases and of course the pandemic leaving around a little bit of flow of work. 7 00:00:56,940 --> 00:01:01,740 But we have been revamping the heavy science department very recently, 8 00:01:02,190 --> 00:01:09,809 and it is my pleasure to introduce you to Dr. King, who is actually a film and heritage scientist. 9 00:01:09,810 --> 00:01:20,820 And he she's going to be offering this lecture which focuses on the analysis of pigments on the material and Japanese manuscripts, 10 00:01:20,820 --> 00:01:24,240 and it's in particular about some specific periods. 11 00:01:24,840 --> 00:01:34,499 Will tell you more about that. Just to say that during these 12 years of very good science that we've been collaborating with many other institutions, 12 00:01:34,500 --> 00:01:46,319 scientific departments at the Metropolitan Museum, Durham University, also National Trust to name just a few, in particular with Durham University. 13 00:01:46,320 --> 00:01:51,360 We've been working with thin pigment pigment, who is composed, 14 00:01:51,360 --> 00:01:59,819 formed by two of the professors of Durham University, professor and Professor Richard Fields, 15 00:01:59,820 --> 00:02:07,760 and both of them for only ten years have been analysing the pigments of the British and have four manuscripts in particular, 16 00:02:07,770 --> 00:02:13,200 sort of focusing on medieval and renaissance manuscripts. 17 00:02:13,500 --> 00:02:19,650 And that work has been in very, very close collaboration with public libraries because of the collections that we have. 18 00:02:20,160 --> 00:02:28,060 So we continue that collaboration. We are making sure that that will last a bit longer and that there will be funding and 19 00:02:28,380 --> 00:02:33,959 equipment and the lot of expertise to be able to continue delivering that kind of work, 20 00:02:33,960 --> 00:02:36,960 which so far has been incredibly successful. 21 00:02:36,960 --> 00:02:44,550 So we have a very, very good map now and a very good idea of the statements presented in British manuscripts of this piece. 22 00:02:45,000 --> 00:02:47,960 Now, I sent you my Japanese. 23 00:02:48,930 --> 00:02:59,460 That's what keeps one year of time within the volume with us when we focus, you know, has been focusing on and will continue to do so. 24 00:02:59,880 --> 00:03:09,810 She will unveil how as seemingly unrelated bits of work are connected in one project. 25 00:03:10,140 --> 00:03:14,549 But they are important to us because they are part of the larger. 26 00:03:14,550 --> 00:03:24,680 So there's a larger picture to this. It's not just an audience and both within the Japanese library and with and in fact, 27 00:03:24,810 --> 00:03:29,250 Alison and Keith, the Japanese librarian and other colleagues in conservation, 28 00:03:29,550 --> 00:03:39,120 we've been studying the Japanese manuscripts and the Japanese collector for some time is quite spokesman to that sort of work. 29 00:03:39,570 --> 00:03:42,059 And also with Byzantine manuscripts, 30 00:03:42,060 --> 00:03:51,000 we have not been actually paying much attention to those in terms of analysis of the kind of So we, we wanted to start of the work. 31 00:03:51,000 --> 00:04:00,450 So the emphasis is on that I'm sure is going to explain all about her work to make it quite interesting. 32 00:04:01,740 --> 00:04:09,420 So there you have the lecture, so I won't give you any longer, but it was nice to see you all here and I hope you enjoy the lecture. 33 00:04:13,850 --> 00:04:17,900 I think that was a really nice introduction. So, yeah. 34 00:04:17,930 --> 00:04:26,749 My name is Kate and I am the new heritage scientist here at the Portland, based in Special Collections alongside conservation and my visits, 35 00:04:26,750 --> 00:04:34,130 everybody, and as Virginia was just saying, is to analyse the pigments on painted Byzantine and Japanese manuscripts. 36 00:04:34,670 --> 00:04:39,740 And so in this talk, first and based on some of the analysis methods that I use, 37 00:04:40,040 --> 00:04:42,920 and then we're going to have a look at some of the examples I've been studying. 38 00:04:44,150 --> 00:04:50,960 So the main piece of analysis equipment that we have here at the library is a hyperspectral imaging system. 39 00:04:51,920 --> 00:04:57,799 And this technique was developed by NASA's Jet Propulsion Laboratory in the seventies and eighties and was 40 00:04:57,800 --> 00:05:02,930 originally developed for the mining industry because it can identify different minerals over a large area. 41 00:05:03,770 --> 00:05:11,530 And this is a picture of a sensor mounted on a dragon, which is how you would see very large land areas nowadays. 42 00:05:11,540 --> 00:05:23,300 I mean, everything is on a plane and it has since been adapted for use in many applications, including agriculture last inland Atlantis, 43 00:05:23,570 --> 00:05:30,229 the effects of pesticides, some crops and waste sorting because you can identify materials through processing. 44 00:05:30,230 --> 00:05:39,710 Again, you identify and for example, foreign material in your feed and astronomy, which is essentially an imaging space. 45 00:05:40,280 --> 00:05:46,220 And it's also used by the military for surveillance and it is also used for historical manuscript research. 46 00:05:47,000 --> 00:05:55,070 So since it is not mounted on Israeli assets, actually stay still and the manuscript is moved underneath it. 47 00:05:55,910 --> 00:05:59,390 So I'm going to show this in a diagram format because it's easier to explain. 48 00:06:00,200 --> 00:06:03,799 So in diagram format, it looks like this at the bottom, 49 00:06:03,800 --> 00:06:10,970 we have a moving platform and we lay the manuscript on this platform and it moves under the light and the analyser, 50 00:06:11,750 --> 00:06:20,300 the incoming light falls onto the manuscript and is reflected by the pigments on the manuscript and is collected by the sensor. 51 00:06:21,170 --> 00:06:23,810 So different setups will collect different information. 52 00:06:24,800 --> 00:06:33,920 But the one we have claims reflected light over the range 400 to 1000 nanometres, which is all of the visible range and pushing into the infrared. 53 00:06:39,410 --> 00:06:46,180 As the manuscript leaves underneath the light in the centre, some with light. 54 00:06:47,420 --> 00:06:58,430 If there's any lines, the system we have is able to collect intensity information for 284 spectral parts of each small area of the manuscript. 55 00:06:58,760 --> 00:07:02,150 And that small area is 0.16 millimetres squared. 56 00:07:03,080 --> 00:07:07,640 This is not to scale every 0.16 millimetre square. 57 00:07:08,750 --> 00:07:13,670 We have 284 points of data to collect that across the entire picture. 58 00:07:13,850 --> 00:07:20,960 The entire picture is scans and each point has 284 and spectral intensities collected. 59 00:07:21,650 --> 00:07:26,070 And if we look at. 284 points. 60 00:07:26,070 --> 00:07:32,220 The data plotted and it gives you a section and every province has a unique spectrum. 61 00:07:32,250 --> 00:07:37,080 Say, for example, this is Smolt, which is a blue pigment. 62 00:07:38,250 --> 00:07:42,330 This is another blue pigments. That's July and this is another pigment indigo. 63 00:07:42,450 --> 00:07:49,380 So you can distinguish between the three blue pigments for any point on our picture from one loss of collected data. 64 00:07:53,130 --> 00:07:58,140 In addition to hyperspectral imaging, we also have access to other analysis techniques. 65 00:07:58,140 --> 00:08:03,840 Through our collaboration with the research group at Durham University, the Virginia mentions collecting pigments. 66 00:08:04,180 --> 00:08:09,659 It has been working with the body and since 2013 they have developed special equipment which 67 00:08:09,660 --> 00:08:14,580 allows them to take their instruments to various library computers to analyse manuscripts in situ. 68 00:08:15,160 --> 00:08:22,800 See, the problem they developed with their project was that those manuscripts are not about to move out of those institutions. 69 00:08:23,490 --> 00:08:31,950 However, the equipments available when they began their research was all desktop huge, 70 00:08:32,190 --> 00:08:39,000 massive instruments and they did at one point move an entire Roman instrument into the cathedral, 71 00:08:39,060 --> 00:08:46,920 which was I think about two days to IBEX, and then it took about three days to stabilise within the cathedral and then they could start using it. 72 00:08:46,920 --> 00:08:52,950 So they have been working since the beginning of that project to create portable instrumentation basically. 73 00:08:53,190 --> 00:08:56,999 And of course it's got better with time as they've learned more about what they need and, 74 00:08:57,000 --> 00:09:02,730 and parts of it just got better over time and things and obviously computers got better as well. 75 00:09:03,210 --> 00:09:07,020 And so now they have a range of instruments which fits with the case. 76 00:09:08,100 --> 00:09:12,720 And they've also managed to play around with the powers of the instruments. 77 00:09:13,200 --> 00:09:18,209 And so fibre optic reflectance spectroscopy uses light stuff, 78 00:09:18,210 --> 00:09:24,330 fibre optics to do basically the same as hyperspectral imaging is just over a wider range 79 00:09:24,330 --> 00:09:32,010 of wavelengths and they've managed to tweak it so that the light is coming through. 80 00:09:32,160 --> 00:09:35,520 That is showing the manuscript is the lowest power you can get away with, 81 00:09:35,850 --> 00:09:46,650 say to cause the most minimal amount of damage to the manuscript possible Roman spectroscopy or description. 82 00:09:48,080 --> 00:09:53,910 And if all the spectroscopy measures the Roman scattering and the interaction of the incoming lights with the bonds and molecules, 83 00:09:54,120 --> 00:09:58,680 and again it produces a fingerprint spectrum for each pigments and that use of lasers. 84 00:09:59,370 --> 00:10:05,879 So the ones you can buy off the shelf are usually developed for use in sort of mining and soil research and things like that. 85 00:10:05,880 --> 00:10:09,270 So they don't really care if they're laser is pretty strong. 86 00:10:09,780 --> 00:10:16,649 But we have with are extremely precious than ancient manuscripts say they've managed again they've managed to tweak it so that the 87 00:10:16,650 --> 00:10:26,070 power is a fraction of the commercially available instruments so that we're posing no risks to our assumptions and xrx measures. 88 00:10:26,070 --> 00:10:33,959 The elements present in the pigments and is particularly good at identifying metal components, for example, the LED and LED light and used together. 89 00:10:33,960 --> 00:10:35,490 These are complementary techniques. 90 00:10:35,790 --> 00:10:42,719 Some pigments are more easily identified with reflectance spectroscopy and some respond better to Roman, but used together. 91 00:10:42,720 --> 00:10:48,570 They're a powerful suite of analysis methods that can tell us most of what we want to say. 92 00:10:48,900 --> 00:10:57,740 Why am I analysed in a two completely unrelated collections manuscripts and say for start the techniques for analysing them at the same say, 93 00:10:57,750 --> 00:11:03,270 and as we develop our techniques that will be the same across any and painted manuscript. 94 00:11:03,780 --> 00:11:07,440 And what we were interested in these two groups of manuscripts. 95 00:11:07,950 --> 00:11:16,380 So it's been noted by various sources that Byzantine manuscripts have had significant losses of pigments. 96 00:11:17,090 --> 00:11:24,600 This is not a problem in any way unique to this collection. This is noted by scholars across all Byzantine manuscript collections, 97 00:11:25,110 --> 00:11:30,480 and because this collection is regularly used by noble leaders, it was thought it's important to investigate this problem. 98 00:11:30,780 --> 00:11:37,230 From a conservation and analysis point of view. The Japanese collection has been a focus for the conservation team this year, 99 00:11:37,650 --> 00:11:44,629 and two colleagues went on an amazing study trip to Japan to visit paper and ink makers about which they're giving a lecture. 100 00:11:44,630 --> 00:11:49,230 And tonight he's come and the departments secured a large amounts of funding for 101 00:11:49,230 --> 00:11:53,670 the conservation of a set of three scrolls telling a story of student achievement, 102 00:11:53,670 --> 00:12:00,480 one of victory, and one of our colleagues is here today will be taking the scrolls to Japan for conservation treatments, 103 00:12:01,110 --> 00:12:07,950 where they will stay for a couple of days. So if he wants to do a study, stop the analysis before that because they'll disappear for a while, 104 00:12:09,270 --> 00:12:15,750 and then pigment studies of Japanese manuscripts on other types of objects such as woodblock prints. 105 00:12:16,050 --> 00:12:20,340 So we thought it'd be a good prompt to gather some information about these painted scrolls and books. 106 00:12:21,240 --> 00:12:29,280 So I'm going to start by looking at some Byzantine manuscripts. These all dates from the 11th, 12th actually to 13th centuries, 107 00:12:29,820 --> 00:12:36,900 and some are thought to come from Constantinople or something, and some have been designated provincial, 108 00:12:37,080 --> 00:12:42,600 although I think this is maybe based on style and they're handwritten in Greek on parchment, 109 00:12:42,990 --> 00:12:47,840 and they all pertain to religious topics such as the Gospels or the knife of judgement. 110 00:12:49,020 --> 00:12:51,870 Quality of manuscripts is quite variable, as you will see. 111 00:12:52,130 --> 00:12:56,450 And some have lost a great deal of their paint, which is one of the things we use, questions we are interested in. 112 00:12:57,170 --> 00:13:03,110 Whereas others are studying the condition. So let's have a look. We're going to start with some provincial manuscripts. 113 00:13:03,110 --> 00:13:12,200 So not from Constantinople. And I'm Skip American to add one dates to the end of the 12th or the beginning of the 13th century. 114 00:13:12,530 --> 00:13:24,320 It's very large this way and thickness wise, and it contains about 230 coins of pictures of the book. 115 00:13:25,220 --> 00:13:28,730 There are two black candidates used Vermillion and Red Baker. 116 00:13:29,720 --> 00:13:40,210 Only Blue used in this manuscript is indigo, and the green used on this manuscript is a mixture of indigo with ultimate so yellow, 117 00:13:41,090 --> 00:13:44,749 which is usually referred to as the dark skin. 118 00:13:44,750 --> 00:13:52,060 Tones are done using ochres and and organic, which is used for cutting eyebrows and throwing pigment things out here. 119 00:13:52,130 --> 00:13:59,300 We're going to look at some pages of the book and then I'm going to talk about all these people so that think is ongoing. 120 00:13:59,840 --> 00:14:02,810 And you can see that the loss of pigment is quite substantial. 121 00:14:06,720 --> 00:14:16,380 That's the picture from the same book with the of the Queen Virgo, which is that mixture of indigo and augment and all the reds, that of a million. 122 00:14:18,630 --> 00:14:28,860 The ochre used for the skin these indigo manuscript very six is much smaller and dates to the early 19th century. 123 00:14:29,220 --> 00:14:37,890 The blue in this manuscript is lapis lazuli, and there is an organic pink purple is that made by mixing the organic paint with lapis lazuli? 124 00:14:38,850 --> 00:14:48,060 Ochre is again used for browns and skin tones green and this manuscript manuscript is a copper green specimen Again, later. 125 00:14:50,850 --> 00:14:57,690 And as Lord. 338 is a collection of bits and pieces which have been bound together, dating mostly to the middle of the 13th century. 126 00:14:58,320 --> 00:15:04,260 Again, we have bags from the million acre lot as natural light is used for the play. 127 00:15:05,100 --> 00:15:08,969 There is no green pigments used in the book, but when they needed greenish tint, 128 00:15:08,970 --> 00:15:17,490 they used indigo skin is done with a mixture of civilian and white, and the red ink is again an organic red. 129 00:15:18,030 --> 00:15:29,080 But the red text in the picture is familiar. Now let's take a look at some of the manuscripts thought to be from Constantinople. 130 00:15:31,360 --> 00:15:35,530 This is a kind of Greek 86, which dates to about 1300. 131 00:15:35,930 --> 00:15:39,970 It immediately say that this is at a high quality of detail. 132 00:15:40,420 --> 00:15:44,830 Yet the pigments are the same. Except we also now have as you write. 133 00:15:47,040 --> 00:15:48,719 Compositions and more complex. 134 00:15:48,720 --> 00:15:59,010 But the range of pigments is quite small, but the banks, vermillion, ochre and organic for the blues classify as he writes and indicate. 135 00:16:03,000 --> 00:16:05,600 This manuscript, which speaks to the end of the 12th century. 136 00:16:05,600 --> 00:16:11,950 We occasionally get a bit of green, and sometimes these get mixed together as indigo ends up or. 137 00:16:15,310 --> 00:16:19,930 This manuscript dates to the first half of the 12th century and is extremely well executed. 138 00:16:20,810 --> 00:16:27,340 Satellite is here, used on its own, but will say mixed with white to achieve pale blue or yellow to get green. 139 00:16:30,430 --> 00:16:37,149 In summary, in the Byzantine manuscripts at this time period, we have three please indicate, as you notice. 140 00:16:37,150 --> 00:16:41,380 And sometimes they get mixed together and sometimes they get mixed with white to create of these. 141 00:16:42,310 --> 00:16:47,530 And then greens are always a copper based green or Virgo, which is indigo, mixed and ultimate. 142 00:16:48,280 --> 00:16:54,309 And we get these we've had some okay and then various things mixed together to 143 00:16:54,310 --> 00:16:58,900 create some other colours and the skin is always a couple of million of whites. 144 00:16:59,320 --> 00:17:05,270 And then we have our inks as well. I'm going to talk a bit more about the pigments because I've been trying lots of 145 00:17:05,270 --> 00:17:09,499 pigment things out there and people aren't necessarily knowledgeable about pigments. 146 00:17:09,500 --> 00:17:17,460 So let's look. Million is essentially used extremely wisely at this point. 147 00:17:17,820 --> 00:17:28,010 And it's mercury sulphide. It does occur in nature as the mineral cinnabar, but it was also widely manufactures. 148 00:17:28,170 --> 00:17:32,460 And we have various recipes for this and from the Middle Ages. 149 00:17:33,330 --> 00:17:38,990 And just by heating mercury and sulphur together, which created a trade in sulphur and Mercury. 150 00:17:40,500 --> 00:17:46,650 A mercury was also used in medicine. There was wine trading of these these things going on. 151 00:17:47,640 --> 00:17:53,160 The OTC is a naturally occurring clay minerals containing iron oxide with attractive colours. 152 00:17:53,610 --> 00:17:59,459 They come in red is greens, oranges and purples and they occur widely in nature. 153 00:17:59,460 --> 00:18:01,950 Although the best deposits were highly valued and traded, 154 00:18:01,950 --> 00:18:11,760 long distance indigo is the dye extracted from the indigo plant and was used very widely antiquity and all the way up to modern times. 155 00:18:14,540 --> 00:18:21,350 Now photography. This is a picture of Malachite with, as you might say, Malachite is a copper carbonate that occurs naturally. 156 00:18:22,220 --> 00:18:26,420 And, as you might add, is another type of copper carbonate which often kinds of insides. 157 00:18:26,490 --> 00:18:29,210 And these can be mines and grounds, cheeses, pigments. 158 00:18:30,140 --> 00:18:36,950 But several medieval recipes are known for the manufacture of other big green pigments that the best known the impact 159 00:18:36,950 --> 00:18:45,100 of the oflice for Salt green and his instructions are to make VOCs into a paste composites covered in honey and salt. 160 00:18:45,900 --> 00:18:51,920 He then says to pour vinegar or urine into the box and leave it, stain it, and leave it for a few weeks. 161 00:18:52,610 --> 00:19:01,610 When you come back, the copper will have changed into green or blue. And I did this, these vinegar and this is the results. 162 00:19:01,610 --> 00:19:02,690 I used to look at Copper Pike. 163 00:19:03,290 --> 00:19:09,050 So the first picture is after a few hours, middle on, after a few days, and the last one after about two and a half weeks. 164 00:19:09,650 --> 00:19:12,740 So that was me at home with a Tupperware. 165 00:19:12,740 --> 00:19:17,210 That is the video making my green pigments. 166 00:19:17,660 --> 00:19:22,940 And I did actually analyse these and they were an acetic acid. 167 00:19:23,090 --> 00:19:34,280 Sorry, I capacitate unclip chloride and I'd say it's possible each time you see a clean copper pigment so they could be modified, 168 00:19:34,280 --> 00:19:38,180 but it also could be one of these other range of copper green pigments. 169 00:19:38,360 --> 00:19:45,709 There's quite a wide range of and people were more than capable of creating these, as well as digging up from the ground. 170 00:19:45,710 --> 00:19:49,730 So it's difficult with this technique to be specific. 171 00:19:50,330 --> 00:19:57,200 I can lay out the techniques on top to be more specific. I haven't always done that and I haven't always got around to doing that. 172 00:19:57,200 --> 00:20:04,910 For all of these examples that often says copper green waxes, malachite, I've, I've, I've identified it as a nice. 173 00:20:07,850 --> 00:20:13,760 Lapis lazuli is the blue portion of the Nazi white mineral that creates a very bright blue pigment. 174 00:20:14,300 --> 00:20:20,780 It was on his mind in Afghanistan and traded all over the continent, reaching as far as England by the 10th century. 175 00:20:21,110 --> 00:20:24,890 It was very highly valued, both for a long journey and its vibrant colour. 176 00:20:26,090 --> 00:20:34,240 Now, a couple of times I've mentioned an organic red and there are a couple of options for the origin of this, and indeed both may have been used. 177 00:20:36,140 --> 00:20:41,790 One is the matter, which is a plant that is native to Eastern Asia, the Mediterranean. 178 00:20:42,500 --> 00:20:48,830 The main currents of matter are this have been uncovered. It's always extracted by soaking the beach in water. 179 00:20:49,670 --> 00:20:52,150 The other possibility is an insect dying. 180 00:20:52,970 --> 00:21:01,310 This can be extracted from the Camas insects living around the Mediterranean, which is the green area or from the Polish or Armenian cochineal, 181 00:21:01,640 --> 00:21:08,630 which is thought to spread from Europe over to the Caspian Sea and all from Indian lake insects. 182 00:21:09,560 --> 00:21:11,840 These red dyes contain distinctive grasses, 183 00:21:11,840 --> 00:21:20,030 and they say they can be distinguished from matter using chromatography That would involve taking samples for probably sizeable samples. 184 00:21:20,510 --> 00:21:26,540 Well, smallish but bigger than we would want to go with. And so we haven't done these tests. 185 00:21:27,080 --> 00:21:32,330 So all we've got is the spectra. 186 00:21:32,420 --> 00:21:39,950 These talk perhaps again, ultimately some DC organic pigments that have different appearances. 187 00:21:41,330 --> 00:21:50,809 Can we? 36 We can see a reddish organic take on a purplish organically pigments secreted from these extracted liquids by depositing 188 00:21:50,810 --> 00:21:57,500 the dye on an insoluble paste such as the resulting dye attached to powdered pigment is known as the lake pigment. 189 00:21:59,270 --> 00:22:04,000 All of the black or dark brown inks I've looked at so far in these manuscripts have been in gold ink. 190 00:22:04,640 --> 00:22:13,940 This is made by leaching the tannins out of the gold or hawthorn bark, mixing with iron sulphide, also known as vitriol and water. 191 00:22:14,030 --> 00:22:19,210 Maybe a binder or thickener like garlic. That's interesting. 192 00:22:23,750 --> 00:22:30,110 So the question of the flaking pigments in Byzantine collections, I don't think I've yet reached a conclusion. 193 00:22:30,740 --> 00:22:35,870 In some cases it appears that all the points lost and in others all the blue is retained, 194 00:22:37,310 --> 00:22:41,180 for example, in the stitching for the hair and places, all the those retained. 195 00:22:41,180 --> 00:22:48,980 And then right next to it all the goes lost. Sometimes all the faces are lost and others one face is retained next to a lost face. 196 00:22:49,970 --> 00:22:55,490 Sometimes large sections of paint missing, whereas on other photos the paint has worn or scratched. 197 00:22:57,280 --> 00:23:03,820 Department is very variable in policy. Even within one manuscript, the pages are often very wavy. 198 00:23:04,060 --> 00:23:09,040 And sometimes there are significant ridges and folds in the parchments. 199 00:23:10,480 --> 00:23:14,470 As you can see, this one has significant patches and folds, and it still has retained its pigment really well. 200 00:23:15,760 --> 00:23:26,320 And the best many manuscripts also have superior parchment than a softer wool title, and they also have far less losses of pigment. 201 00:23:26,800 --> 00:23:33,310 So at the moment I suspect that the losses are due not to the pigments or the quality of the culture it's underneath. 202 00:23:34,060 --> 00:23:38,650 I also found that Byzantine manuscripts were sometimes close to the stain to make them shiny, 203 00:23:38,830 --> 00:23:43,600 which might look attractive but is less likely to retain pigment over a long period of time. 204 00:23:44,140 --> 00:23:49,900 So let's make a final conclusion. But I'm pretty sure that the losses of pigment are down to the parchment. 205 00:23:49,900 --> 00:23:58,660 And so moving on to Japanese manuscripts, these take a format of scrolls or small text, 206 00:23:58,840 --> 00:24:05,880 and there are sections of writing followed by a painting, and then another section about another painting and stroke. 207 00:24:07,300 --> 00:24:12,340 Say, this is the scroll that we mentioned earlier. 208 00:24:12,340 --> 00:24:18,100 This is a conservation in Japan. It's a well known story about a girl who runs away from hurrying to escape. 209 00:24:20,650 --> 00:24:26,080 The pictures and scrolls are larger than that book and send pictures because there's just more space and scope. 210 00:24:26,500 --> 00:24:30,910 So I have used another feature of the hypersexual imaging which is forming a colour. 211 00:24:32,080 --> 00:24:37,569 So you pick a pixel that has the spectrum of save a million and then the software uses algorithms 212 00:24:37,570 --> 00:24:41,980 to work out which other pixels have the same spectrum and how highlights them all the same colour. 213 00:24:42,400 --> 00:24:48,250 And you can end up with something like this, say where it's coloured blue is red land, 214 00:24:50,140 --> 00:24:56,950 where it's coloured orange is the median and then we've got some organic ones in there too. 215 00:24:56,950 --> 00:25:05,000 And if I see you and you can see you can get some quite nice details that this man's coat is painted in red light. 216 00:25:05,050 --> 00:25:15,040 But then the details have been done in vermillion and circles, so you can see some quite nice detail that is sometimes hard to notice. 217 00:25:15,040 --> 00:25:21,360 I. And we can do the same. 218 00:25:21,420 --> 00:25:33,190 Please. So if I toggle between the picture, the colour, I can see that where the computer has coloured it blue, 219 00:25:33,210 --> 00:25:36,990 that's where you have indigo mixed with whites. That's a pale blue. 220 00:25:37,290 --> 00:25:42,629 Often the trousers of pale green than where it's indigo not mixed with whites. 221 00:25:42,630 --> 00:25:48,900 White are dark indigo. If you see that man's coat at the top shade in France, that's a very dark indigo. 222 00:25:49,680 --> 00:25:56,370 And then the other pigment we have here is Smolt, which is the bright blue pigment which is on the squares top, right. 223 00:25:59,940 --> 00:26:03,330 Another complex picture and we can map colours here too. 224 00:26:06,750 --> 00:26:15,120 You can see the edging on McGowan's back left has a slight bright blue case on it and you can 225 00:26:15,120 --> 00:26:19,470 see that on some of the figures they used the million infrared light in the same figure, 226 00:26:20,340 --> 00:26:27,570 a different detail. And if we seen then you can see it is actually quite close to detail. 227 00:26:29,310 --> 00:26:33,210 For example, the reds are vermilion and orange in red light, 228 00:26:33,300 --> 00:26:39,120 and there are two types of pink organic red Lake with white mixed in red light with white Nixon. 229 00:26:40,260 --> 00:26:45,810 Now, I'd say in a couple of new pigments in the ring there. And so let me just quickly describe them. 230 00:26:46,020 --> 00:26:49,370 Red light occurs. Nature is medium, but it's pretty rare. 231 00:26:49,380 --> 00:26:58,800 So it was probably manufactured by heating at once. And I also mentioned Smolts, which is ground cobalt blue glass. 232 00:26:58,800 --> 00:27:03,750 And it gives that bright blue and there's no that is not in Japan at this time. 233 00:27:04,020 --> 00:27:07,500 And the like is from Afghanistan, which is northwest China. 234 00:27:07,710 --> 00:27:08,790 It doesn't get any further. 235 00:27:09,000 --> 00:27:23,390 Say that a bright blue is this is this smelt classic that's been can be monophonic or indigo mixed with yellow as you can see on. 236 00:27:25,520 --> 00:27:42,580 This my. As you can see on this latest dress with the same background, bright green, it's malachite on her dress square that has leaf motifs. 237 00:27:42,760 --> 00:27:46,100 That's done with a mixture of indigo yellow that's much more already colour. 238 00:27:46,210 --> 00:27:54,340 So you get a different quality of colour. And the way they use the reds is quite interesting as well. 239 00:27:54,370 --> 00:28:05,650 So red last and familiar tend to be used for large blocks of colour like undergarments or the actual cloak, whereas the organic reds, 240 00:28:06,100 --> 00:28:12,490 which I called organic red to you for a reason, I'll tell you in seconds, was used to do the details on the gowns. 241 00:28:20,040 --> 00:28:28,960 So what kind of science? Again, there appear to be two different organic growth links there, Spectra said. 242 00:28:30,450 --> 00:28:33,620 As I was just saying, one of them is used to be the detail of the games. 243 00:28:33,630 --> 00:28:38,970 You can see where it says gang threat to usually a down detail like a flower or some dots or something. 244 00:28:39,270 --> 00:28:43,230 So this one down there to the left and some at the top there. 245 00:28:43,440 --> 00:28:44,309 And then the organic, 246 00:28:44,310 --> 00:28:54,150 from what I've called organic red one is used and it's darker and more of a move uni colour and that's used as more sort of edgy, 247 00:28:54,310 --> 00:29:00,000 organic that it's not used for detail. They have very different spectra. 248 00:29:00,670 --> 00:29:01,650 It looks very different to me. 249 00:29:02,580 --> 00:29:12,150 And the red or pink one has a bump at around 560 nanometres, and that indicates that it's an insect based, pigment based dye. 250 00:29:13,620 --> 00:29:17,849 So other scallions. Sorry, I just got a studying Japanese wax from a similar time period. 251 00:29:17,850 --> 00:29:23,630 Have also said they can see two different types of organic pigments and they always describe one as purplish as well, 252 00:29:23,640 --> 00:29:30,600 same as we have had and in fact another has recently been identified on Ukiyo e prints and 253 00:29:30,670 --> 00:29:36,690 in the Portland Art Museum and insect dyes identified in several Japanese as a period, 254 00:29:36,690 --> 00:29:46,020 paintings have shades of cochineal, so therefore it's likely that we have two red pigments, maybe one from Mata and one from insect eye. 255 00:29:46,710 --> 00:29:55,710 And that's sort of an ongoing interest point for me. So I'll be investigating further and say, this moth again, an early appearance. 256 00:29:55,710 --> 00:30:01,260 It seems that Indian luck was the red dye and led pigment used in Japan. 257 00:30:02,520 --> 00:30:04,920 Interestingly, by the 17th century, of course, 258 00:30:05,760 --> 00:30:12,270 the Americas have been discovered and the Spanish were very quick to capitalise on the trade of cochineal dye from South America. 259 00:30:13,170 --> 00:30:18,840 So as I'm sure you know, Europeans were thrown out of Japan in the 1630, 260 00:30:18,840 --> 00:30:23,280 but the Dutch continue to be allowed to trade with them from Dejima and Dutch wool and 261 00:30:23,280 --> 00:30:27,720 garments dyed with American cochineal turn up frequently in Japan at this period, 262 00:30:27,990 --> 00:30:30,920 especially in ceremonial and military contexts. 263 00:30:31,530 --> 00:30:38,190 Part of the appeal, in fact, of the Mexican cochineal was it had bound very well onto protein fibres such as will and silk, 264 00:30:39,900 --> 00:30:47,640 and it's known that the Manilla Galleons carried cochineal as early as the 1580s on their transpacific voyage from Acapulco to Manilla, 265 00:30:48,150 --> 00:30:59,820 and the dyeing surrounded China in the 17th century. However, within Japan, traditional red textiles was not replaced by cochineal until 1869, 266 00:31:00,300 --> 00:31:03,630 which indicates the cochineal was probably quite rare within Japan. 267 00:31:04,050 --> 00:31:10,260 And it's very probable that the French cloth pictured here was brought here, having already been dyed a sort of finished product. 268 00:31:10,980 --> 00:31:20,280 So we can't tell from the spectrum, but from the historical evidence, it suggests that with the insect eye we have is Indian black. 269 00:31:20,280 --> 00:31:29,969 That is still the question on paper that if we look at another scroll and Zeeman can see that there are several hues of green, 270 00:31:29,970 --> 00:31:34,020 which is done by mixing various amounts of yellow and white with malachite. 271 00:31:34,470 --> 00:31:38,790 And there is also that much green olive coloured green movement, indigo and yellow. 272 00:31:39,180 --> 00:31:44,280 And again we have two organic red leeks, we have smolts and now we also have, as you write, 273 00:31:44,640 --> 00:31:53,550 a lot of such objects in the past and these Indigo comic books which contain a mixture of writing and painted pictures, 274 00:31:54,330 --> 00:31:59,520 again we see a consistent set of pigments, blues or indigo. 275 00:31:59,520 --> 00:32:06,989 And as you write, although in this books, the ascribed is used for the pale blue instead of the indigo being used for the pale. 276 00:32:06,990 --> 00:32:15,390 They say they've mixed that as white with white and green and red vermilion and red led and the insect eye again. 277 00:32:15,780 --> 00:32:20,939 And pink is the insect eye plus white. And as an old friend, which contained a red light. 278 00:32:20,940 --> 00:32:29,450 I'm something else, but I'm not sure what it is. This site so far has found a fairly consistent set of pigments. 279 00:32:30,080 --> 00:32:39,799 I went I didn't think I was just another misstep. So here we have large amounts of the pinkish colour in the background and also they add that 280 00:32:39,800 --> 00:32:45,080 black for the purplish colour in the background and some nice details in the clothing. 281 00:32:45,560 --> 00:32:52,460 So all the little blue details have been done with as you write and the lady in the. 282 00:32:54,520 --> 00:32:59,560 Like the person in the pink with the star motif on the cloak. 283 00:33:00,210 --> 00:33:05,500 And that's why I think those colours all appear organic insect for one Scott White in it and one just. 284 00:33:11,380 --> 00:33:11,890 In summary, 285 00:33:11,890 --> 00:33:19,760 so far I have found a fairly consistent set of pigments for Japanese manuscripts in the 17th century and within a manuscript or set of manuscripts. 286 00:33:19,780 --> 00:33:27,700 I also used in a consistent way. So if a scroll uses red light white in colour, that would be consistent throughout the school. 287 00:33:29,320 --> 00:33:36,670 So what have I not been able to say? This technique is not great at identifying yellows, so I can't yet say much about the eyes. 288 00:33:36,670 --> 00:33:39,070 And I'm starting to get the impression that yellow is tricky. 289 00:33:40,900 --> 00:33:47,080 There is the additional hope in the Japanese use a lot of organic plant based yellows and say, 290 00:33:47,080 --> 00:33:52,690 turmeric and some other ones, and they don't necessarily have very different reflectance spectra. 291 00:33:52,780 --> 00:33:55,720 So that this might be a technique to distinguish between these. 292 00:33:56,650 --> 00:34:01,900 And actually I need to experiment with some other techniques a bit more, but it might not. 293 00:34:02,380 --> 00:34:07,900 It is just very hard to distinguish between these things without using chromatography and chromatography in both samples. 294 00:34:07,900 --> 00:34:16,930 So then I use that extra difficult question of how much do we want to know and and yes, get to get there. 295 00:34:16,930 --> 00:34:23,049 But I will try try this some other things that at first whites as well are not easily 296 00:34:23,050 --> 00:34:26,530 identifiable using this technique because they tend to just reflect like that. 297 00:34:26,830 --> 00:34:32,410 So instead of getting a nice set that tells you about the pigment, you just get a bit of light from that. 298 00:34:33,430 --> 00:34:37,840 And then there is this threat in the secondary issue that I mentioned several times. 299 00:34:38,290 --> 00:34:42,999 So with advances in various instruments and advances in computing power, 300 00:34:43,000 --> 00:34:49,930 some scholars have said that the Indian locked eyes can be distinguished from the cochineal dyes for their reflectance spectra. 301 00:34:51,130 --> 00:34:59,050 So if my data is good enough and they skilled as a threat, then it appears that my insect eye from the Japanese manuscripts is black from India. 302 00:34:59,530 --> 00:35:06,489 However, I think we would have to do chromatography to confirm that and at the moment there isn't a compelling enough reason to take samples from 303 00:35:06,490 --> 00:35:14,590 the paintings and I'm still looking into how easy it is to distinguish all the different types of cochineal from each other as well. 304 00:35:14,920 --> 00:35:19,810 I think it is possible, but I would I would want to confirm these things before we even contract it. 305 00:35:22,240 --> 00:35:33,010 And the other problem is, as you see from here, for example, that the areas that are painted with these insect eyes are extremely tiny. 306 00:35:33,280 --> 00:35:36,310 So they tend to, as I say, they tend to be used for the little details. 307 00:35:36,760 --> 00:35:43,480 And so that's another level of difficulty if you don't have huge amounts of evidence for them. 308 00:35:45,100 --> 00:35:50,290 And there's also some question about whether a lake was actually used. 309 00:35:50,290 --> 00:35:55,630 You know, I talked about, as you say, an insoluble bass and absorbing the dye on space. 310 00:35:56,440 --> 00:36:00,669 I've written several pieces that they suggested that no bass was actually used and they were 311 00:36:00,670 --> 00:36:05,200 actually just using the dye powder and in a binding medium like dramatic or something like that. 312 00:36:05,620 --> 00:36:09,580 And so that's another question I have yet to address but would like to the paintings that. 313 00:36:11,630 --> 00:36:14,720 And that's it. Thank you very much for your attention. I'm.