Changing Manuscript Displays

By Glyn Davies

An exciting element of museum displays is that they never stand still – in a very real sense, no gallery project is ever ‘complete’. The Medieval & Renaissance Galleries have been open for over six months now, and the first changes are starting to be made. The pictures accompanying this post show you the arrival in the galleries of a new pair of illuminated manuscripts on loan from the British Library.

Installing British Library ManusriptsAs part of the new gallery complex, we came to an agreement with the British Library that they would show a changing selection of manuscripts from their collections within the area of one of our galleries that looks at Great Churches and Monasteries in the period 1050-1250. Manuscripts were an important part of the artistic production of major churches at this time. Churches needed service books in order to better administer the liturgy. They copied scholarly texts for their libraries; and they produced charters and other administrative documents as well. The V&A’s collection of medieval manuscripts is comparatively small, and our works from this period tend to be individual leaves or fragments from much larger and grander works. We wanted to work with the British Library to help further contextualise the displays that visitors will see, and to juxtapose V&A objects with relevant manuscript materials. Hopefully, over time, we will also have the opportunity to display some of the BL’s lesser-known treasures.

Installing British Library Manusripts


What really gives this collaboration life, though, is that because manuscripts are extremely light sensitive, and their bindings often fragile, they can only be displayed for a relatively short time. This forces us to regularly change the display – in this case, we are aiming to change the loan every six months. Of course, for regular visitors to the Museum, this means that there will be new and unfamiliar material to see and enjoy, so although it’s a lot of work choosing, preparing and organising each new display, there is a real benefit for the visitor.

The manuscripts here were chosen to show how monasteries and churches in the eleventh and twelfth centuries survived through their close links with the ruling elite. Both parties benefited from this relationship. The church provided careers for some of the children of the nobility, provided political support and expertise (for example, in diplomacy) and safeguarded treasures and archives. In return, it was granted lands, tax breaks and other privileges, and could count on royal and noble patrons to help in setting up new churches and monastic foundations.

Installing British Library ManusriptsOne of the new manuscripts is a chronicle of the Abbey of Saint Martin des Champs, near Paris. The image we are showing, a little the worse for wear from water damage, but wonderfully lively, depicts King Henry I of France (1031-1060) standing beside the church building, which he had financed, and signing the foundation charter document. If you’d like to find out more about this manuscript, or see stunning images of the British Library’s other treasures, then their website is here:

Next time: just what is it about Italian art that the English love so much?

2 thoughts on “Changing Manuscript Displays

Keenan Laber:

Everything is very open with a really clear clarification of the challenges. It was truly informative. Your site is extremely helpful. Thank you for sharing!

Manoj Phatak:

Hello Glyn

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Our vitrines, based on electro-optic glass, become transparent only when someone is nearby, which results in a spectacular presentation of maps, manuscripts, books, photographs, jewellery and textiles. At all other times, the object sits in complete darkness, protected from UV, IR and visible light.

Our patent-pending control system analyses conservation-related data to proactively reduce the risk of long-term light damage to the object.

To date, items we have protected include:- original maps of the 1815 Battle of Waterloo and an original ‘Antonio de Torres’ Spanish guitar from 1888, for both private collectors and museums across Europe.

Do you think our solutions could help to reduce light damage on the items you mention in this article? If so, please contact me to discuss your requirements further.

Manoj Phatak
Founder & CEO, Domoticware

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