The toxic materials in manuscript illuminations like Mors, An Illustrated Manuscript Confessory for the Use of a Deaf Youth, Netherlandish, ca. 1819, make them dangerous beauty. Image: Walters Art Museum.

If Books Could Kill, the toxic materials in manuscript illuminations will kill you. A new exhibition at the Walters Art Museum explores how substances like lead and arsenic shaped illuminated manuscripts and art.

BY KAZEEM ADELEKE, ARTCENTRON

BALTIMORE, MD — Manuscript illuminations, with their rich, vibrant colors, have long captured the imagination of viewers. From the vivid blues to the brilliant golds, these decorative artworks once adorned religious texts, historical manuscripts, and royal documents. However, behind the dazzling beauty lies a hidden danger. The pigments and materials used by scribes, artists, and bookbinders in centuries past were often highly toxic. They contain lead, arsenic, mercury, and other dangerous substances. The new exhibition at the Walters Art Museum, If Books Could Kill, casts light on the perilous history of these exquisite yet hazardous treasures. It reveals how the toxic materials in manuscript illuminations were not just a health risk for their creators but also for those who continue to care for them.

The Role of Toxic Materials in Manuscript Illuminations

Throughout history, manuscript illuminations have been a testament to the intricate artistry and craftsmanship of book artists. However, the materials used to bring these manuscripts to life are often deadly. They included substances that were harmful to both the creators and the viewers. For centuries, artists relied on minerals and compounds that were lethal. While effective in producing brilliant, long-lasting colors, these minerals and compounds also presented significant health risks.

Some of the most notorious toxic pigments include lead-based white and yellow paints. Others are arsenic greens and mercury cinnabar, which produced the striking reds so characteristic of illuminated manuscripts. These substances were not only harmful during the creation process; they also posed a risk to anyone handling or viewing the manuscripts.

Toxic Pigments and Their Historical Use

• Lead: Lead was always in white lead paint, a pigment famous for its brilliant opacity. It was also in yellow pigments, which provided a rich gold-like appearance when mixed with other materials. Lead, however, is notorious for its neurotoxic effects, which can cause long-term damage to the nervous system and other organs. Artists and bookbinders working with lead-based pigments were at great risk of poisoning. The consequence could be severe health problems and even death.

• Arsenic: Arsenic was another widely used toxic substance in manuscript illumination, particularly in creating vibrant green hues. The arsenic green, often referred to as Schweinfurth’s Green, was used in medieval and Renaissance art to create a rich, glowing green pigment. Arsenic exposure can result in poisoning, leading to severe symptoms. These symptoms include headaches, nausea, and ultimately organ failure for prolonged exposure.

• Mercury: The brilliant red pigment known as cinnabar, made from mercury sulfide, was sought after for its vibrant color. However, mercury exposure is extremely dangerous, leading to mercury poisoning, which affects the central nervous system, kidneys, and liver. This toxic compound was commonly used in illuminations, often for its striking appearance and durability. Mercury is one of the most dangerous toxic materials in manuscript illuminations.

• Other Hazardous Materials: In addition to the major toxic pigments listed above, medieval manuscript artists often employed other dangerous substances. They include copper and sulfur, which also had hazardous properties. These materials were often in gold leaf applications, ink formulations, and other decorative elements, adding another layer of danger to the creative process.

Unveiling the Hidden Dangers: If Books Could Kill Exhibition

The If Books Could Kill exhibition at the Walters Art Museum takes a closer look at the fascinating and perilous history of manuscript illuminations. It was curated by Lynley Anne Herbert, the Robert and Nancy Hall Curator of Rare Books and Manuscripts. This exhibition brings to light the often-overlooked dangers associated with these beautiful objects.

The exhibition features 24 rarely displayed examples of manuscripts and materials that were created using toxic substances. These artifacts span cultures, geographies, and time periods. They reveal how widespread the use of dangerous materials was across different regions and historical contexts. From medieval texts to Renaissance manuscripts, the exhibition provides a deep dive into how these hazardous pigments were prevalent globally. Additionally, it sheds light on the human stories behind their creation.

The Science of Toxic Materials in Manuscript Illuminations

To understand the full extent of the dangers posed by these toxic materials, the scientific analysis behind the preservation of these manuscripts is crucial. The Walters Art Museum has a team of highly skilled conservators, including Abigail Quandt, the Head of Conservation, Books and Paper, and Annette Ortiz, the Conservation Scientist. Together, they have developed sophisticated methods to detect and analyze the presence of toxic materials in the manuscripts, ensuring the safety of those who handle them.

Non-invasive Techniques for Testing Manuscripts

The toxic materials in manuscript illuminations make testing a priority. The museum utilizes advanced scientific methods to test the materials used in manuscripts without damaging them. It uses techniques such as X-ray fluorescence (XRF) and microfading testing to identify metallic elements like lead, arsenic, and mercury. These methods allow conservators to determine the precise composition of the pigments and materials used in the illuminations, all while preserving the integrity of the manuscripts.

1. X-ray Fluorescence (XRF): This method uses a beam of X-rays to excite atoms in the manuscript, causing them to emit secondary X-rays. By analyzing the emitted X-rays, conservators can determine the elemental composition of the materials. This process also helps them identify toxic substances like lead and arsenic.
2. Microfading Testing: This technique involves exposing small, controlled areas of the manuscript to light to assess how the pigments react over time. This allows conservators to understand the fading properties of toxic pigments. Additionally, it helps inform decisions about how best to preserve the manuscripts.

Handling and Preserving Toxic Manuscripts

Given the toxic nature of these manuscripts, careful handling and preservation are essential. This is to ensure the safety of museum staff, scholars, and visitors. The Walters’ Books and Paper Conservation Department employs rigorous protocols for handling and storing manuscripts containing dangerous substances.

1. Protective Equipment: Conservators working with manuscripts containing toxic pigments use personal protective equipment (PPE). They include gloves, masks, and respirators to minimize the risk of exposure.
2. Controlled Environments: The manuscripts are stored in controlled environments to limit the risk of contamination. This includes temperature and humidity controls, as well as the use of airtight display cases to prevent dust and particulate matter from escaping into the air.
3. Specialized Handling Techniques: Due to the toxic materials in manuscript illuminations, adequate care goes into handling them. When manuscripts are going on display or study, conservators use specialized tools to carefully manipulate the pages, ensuring minimal contact with the pigments.  This ensures minimal contact with the pigments. It also prevents the release of toxic particles that could harm individuals in the vicinity.

Cultural Significance of Manuscript Illuminations

While the dangers of toxic materials in manuscript illuminations are evident, it is equally important to appreciate the cultural and historical significance of these works of art. Manuscript illuminations were not just decorative; they were symbols of power, wealth, and religious devotion. The use of vibrant, eye-catching pigments was mainly for the most important texts in society. They include holy scriptures, royal decrees, and liturgical works.

The painstaking efforts of scribes and artists to create these elaborate decorations reflect the value placed on these texts. In many cultures, manuscripts were considered sacred and were meticulously crafted by skilled artisans who often used dangerous substances without fully understanding the health risks involved.

 A Lasting Legacy of Beauty and Danger

The If Books Could Kill exhibition at the Walters Art Museum is a reminder of the fascinating yet dangerous history of manuscript illuminations. While these objects continue to captivate with their vibrant colors and intricate designs, it is essential to recognize the toxic substances that were once used to create them. Through the meticulous work of conservators and scientists, we are able to preserve these treasures for future generations while ensuring the safety of those who study and appreciate them.

The exhibition provides an opportunity to reflect on the complex relationship between art, science, and history. Above all, it offers a glimpse into the hidden dangers that lie beneath the surface of these dazzling works.