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To celebrate Vikings Live, we have replaced our Roman alphabet with the runic alphabet used by the Vikings, the Scandinavian ‘Younger Futhark’. The ‘Younger Futhark’ has only 16 letters, so we have used some of the runic letters more than once or combined two runes for one Roman letter.

For an excellent introduction to runes, we recommend Martin Findell’s book published by British Museum Press.

More information about how we have ‘runified’ this site

 

Caroline Barry

Head of Pictorial Art Conservation

Department: Conservation and Scientific Research

 

Contact

+44 (0)20 7323 8502
conservation@thebritishmuseum.ac.uk

Caroline Barry is the Head of Pictorial Art Conservation in a job-share capacity with her colleague, Joanna Kosek. They manage work planning, research projects and conservators in the Western Art on Paper, Eastern Art on Paper and Silk, and Conservation Mounting studios.

Caroline trained as a paper conservator, specialising in art on paper, at Camberwell College of Art. She started her career in the British Museum as a papyrus conservator before concentrating on her specialist area of Western prints, drawings and watercolours.

Current projects

Investigating light exposure for prints and drawings in the student’s room

A condition survey of Iron Gall ink drawings in the Prints and Drawings collection

Planning for new conservation studios

Previous projects

Investigating early conservation treatments on Iron Gall ink drawings (2000 – 2001)

Michelangelo Epifania Cartoon: Preliminary condition investigation and treatment recommendation (2007)

Museum delivered content on hand-held guides. Are the public ready? (2007-2008)

External fellowships/ honorary positions/ membership of professional bodies

Accredited member of the Institute of Conservation (ICON)

Member of The Institute of British Paper Historians

Recent publications

C. Barry, An examination of Iron Gall ink drawings in the British Museum deacidified with barium hydroxide (postprints from The Iron Gall Ink Meeting, Newcastle upon Tyne, Conservation of Fine Art, 2001), pp. 83-89