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Conservation Journal April 1997 Conservation Journal

Contents Editorial-The Raphael Cartoons at the Victoria V&A Conservation Journal No 23 April 1997 and Albert Museum

3 Editorial Timothy Stevens Timothy Stevens, Assistant Director (Collections) Assistant Director (Collections)

5 The Prodigal Son: examination and conservation of a flemish cabinet on stand The opening of the Raphael Gallery by elaborate planning that had been that ‘the cartoons have for nearly two Merete Winness, Furniture Conservation Student, Her Majesty the Queen in October necessary for their safe conveyance. centuries been preserved under RCA/V&A Conservation Course 1996 marked the completion of the The transport was organised and conditions materially different from Hannah Eastwood, Conservation Science Student, most recent campaign to ensure that directed by Captain Fowke of the Royal those they will now be submitted to’ RCA/V&A Conservation Course the cartoons are shown under Engineers and the builder of much of and that he felt the conditions at conditions that minimise the risk of the Museum. So that the cartoons Hampton Court were ‘comparatively 8 Traditional practices for the control of insects in India damage. could be removed flat and thereby favourable’, in particular the P. Perumal, Nehru Scholar, Thanjavur, India These works were commissioned by avoid damage due to folding them, a ‘minimum of light ... has tended to Michael Wheeler, Senior Paper Conservator, Paper Conservation Leo X for a set of tapestries, illustrating window was taken out from the prevent the fading of the cartoons’. the lives of St Peter and St Paul, to be gallery. Fowke designed a covered He went on to air his chief worry: 10 Conservation of the “May Primrose” wedding dress hung in the Sistine Chapel. They have wagon which included a suspension ‘The cartoons are painted with size or Sonja Müller, Textile Conservation Student, enjoyed an almost continuous system in order to reduce vibration. It some similar vehicle, which RCA/V&A Conservation Course reputation as great works of art and is a measure of the importance necessarily retains or has a natural over the years much thought has been attached to the special design of this affinity for moisture, and would 14 Exhibitions: how do they do it? given to their preservation. For vehicle that it was photographed at suffer from undue dessication; of all Alison Richmond, Training Co-ordinator, Conservation Research instance, when owned by Charles I, least twice. The whole operation - and conditions, therefore, that of uniform copies were made for use at the a pretty neat one - took 40 men and stagnant, dry, heated, atmosphere 16 The Arundel Society-techniques in the art of copying Mortlake tapestry works so that the cost £250. would be most inimical, but I fear Victoria Button, Paper Conservator, Paper Conservation that the method of artificial heating Editorial Board originals would not be subjected to Opinion within the Museum was not hard use by the weavers. Later in the in South Kensington especially Jonathan Ashley-Smith 20 A visit to Liverpool united on the advisability, from a induces these conditions. I believe Head of Conservation Department same century a special gallery was built Jennifer Swan, Administration Intern, Conservation Research conservation point of view, of moving that the present method of heating by for them at Hampton Court by the cartoons to South Kensington. J C Alan Cummings Christopher Wren; this included a hot water pipes is, generally speaking, Course Director, RCA/V&A Conservation Course 21 RCA/V&A Conservation Course Abstracts Robinson, the Secretary of the Science bad for nearly all classes of works of fireplace so that the gallery could be and Art Department, had reservations. Graham Martin heated to keep the damp at bay. art’. Robinson felt open fires or stoves Head of Conservation Research, 23 New Staff In his report on the issues he noted were likely to provide ‘equable Conservation Department Their arrival at the Museum in 1865 on loan from Queen Victoria gave rise to Helen Shenton 24 Conservation Department Staff Chart Assistant Head of Conservation, extensive discussion about their long- Conservation Department term conservation. This is revealing Managing & Production Editor about the state of knowledge at the Paula Mills, Conservation Scientist, time and illustrates how seriously Conservation Department conservation was taken in the early Designed by V&A Print Unit days at South Kensington. In view of the Museum’s recent work a revisiting Photographs are credited individually of the surviving papers of 1865 Position only scan © 1997, Copyright The Trustees of the seemed an appropriate topic for an Victoria & Albert Museum. ISSN 0967-2273 Editorial. All enquires to: On Friday 28 April 1865 Sir Henry Conservation Department, Victoria & Albert Museum, Cole, the first Director of the Museum, London SW7 2RL, UK noted in his diary with characteristic Telephone +44 (0)171-938 8569 understatement and conciseness that Fax +44 (0)171-938 8661 Email [email protected] ‘the cartoons came safely from Hampton Court’. He makes no The cover shows reference to the importance of the Rachel Oliver preparing the basket to transport a Delft Jar cartoons to the Museum nor to the Figure 1. The transport organised by Captain Fowke. 2 3 Conservation Journal

conditions’, though he was keen that there was no night watchman to atmosphere in the room should be The Prodigal Son: examination and

the cartoons should be lit by gas light, discover one. To mitigate the problems tested from time to time, and its April1997 noting ‘the amount of fading from of ‘dust and change of temperature’ temperature regularly registered night conservation of a flemish cabinet on stand artificial light being infinitesimal’. and of the artists, Redgrave had the and day’. Richard Redgrave, the Inspector- cartoons glazed which, as he noted, The Museum sought the advice of General for Art, provided a made them into ‘mirrors’ reflecting the outside experts and Cole noted in his Merete Winness commentary on Robinson’s report and windows of the gallery. He had also diary the dates of visits by such Furniture Conservation Student, RCA/V&A Conservation Course took issue on a number of points. He had plans to seal the backs with eminent figures as the art collector, ‘painted cloth’. ‘It was manifest that he Hannah Eastwood also wrote his own Report on the Henry Layard. Charles Eastlake, the Conservation Science Student, RCA/V&A Conservation Course State of the Rafaelle Cartoons on could still less object to the purer air of formidable Director of the National their Removal from Hampton that Museum, in which, moreover, the Gallery, was asked to endorse Court in April 1865. Redgrave, as light would be carefully regulated, the Redgrave’s recommendations, which Antwerp was an important centre for the arts records of who the designer, maker or Surveyor of the Queen’s pictures, had temperature preserved at an equality, he did, in particular the proposal that throughout the seventeenth century, producing commissioner was but it is believed to be from first hand experience of the conditions where there are the best provisions no ‘repairs’ should be done to the and dealing in paintings, prints, books, furniture Antwerp from the second quarter of the at Hampton Court. He pointed out that against dust, and ample security cartoons. and musical instruments. Highly ornate cabinets seventeenth century. The stand is thought to be against any danger from fire, since were made for storing valuable collections and later, possibly a nineteenth century addition. ‘The fire was only lighted six days a These papers about the forward the buildings are not only constructed became status symbols for the collectors. The week, the room being cold and damp planning for the transport of the Looking through the conservation records we as far as possible fireproof, but the wood most often used, at this time, was ebony, and the temperature dangerously low cartoon, the differing views of know that the cabinet was last treated in 1980. police and firemen perambulate the an exotic and expensive hardwood. Ebony was on the seventh’. Robinson and Redgrave, the The technical record card states that only one building day and night’. not used in the solid form for decorative profiled At Hampton Court, three hazards were preparation of condition reports, the small piece of missing ebony veneer was replaced mouldings, but sawn into veneers to be glued on highlighted by Redgrave: fire (as the The final two paragraphs of Redgrave’s consideration of the environmental and that several other areas were coloured out or to a carcase of much cheaper native woods, such kitchen flues passed under the gallery report discuss the condition report conditions of the gallery where the reglued where loose. Lifting and splitting veneer as oak and pine. floor), damp and damage by the that had been made on the cartoons cartoons were to hang strike a familiar is a common problem with this type of furniture. visitors (particularly artists making and the problems of noting ‘extensive note. The aspiration of the Museum in Such a cabinet was given to the Victoria and In 1992 the cabinet was requested for loan. The copies). Redgrave had prepared a injuries of a minute nature ... 1865 to take the best possible care of Albert Museum in 1923 (W61-1923), as part of a object was examined in the gallery and a detailed disaster plan in the event of fire. He although using photographs as the these masterpieces of Renaissance Art large collection of furniture donated by Mrs E. condition report was made. It was found to be in had stand cocks installed in the gallery basis of the registry has been a great is one which we have shared in the Hearn (Figure 1). Unfortunately, there are no and an ‘ingenious but somewhat aid’. The prints annotated by Redgrave recent programme of work. elaborate machinery’ had been are a remarkable early example of devised which allowed the cartoons to photography being used to document be lowered, removed from their frames the condition of a work of art. and folded so that they could be saved. Redgrave also added some notes for Redgrave recognised however that the care of the cartoons when at the these careful arrangements were likely Museum. Many strike a note today such to be ineffective in the event of a fire as as ‘The hygrometric state of the

Position only scan position only scan Photography by V&A Photographic Studio Figure 2. Print taken from a glass plate negative with remarks on condition by Richard Redgrave. Figure 1. The complete cabinet, displayed with doors open (W61-1923), 86cm high excluding the stand.

4 5 Conservation Journal Conservation Journal

a highly unstable condition and major (uv) illumination. A detailed technical analysis The green areas, such as foliage3, have been Conclusion conservation would be needed before it would described later in this article was undertaken by painted using the synthetic copper pigments, The cross-sections prepared from the samples be suitable to travel. Due to the low light levels in Hannah Eastwood. green and blue verditer, mixed with a yellow taken from this cabinet have provided a detailed April1997 April1997 the gallery, it was difficult to determine the The panels required more attention; the flaking pigment (lead-tin yellow or a yellow lake). This account of the materials used by the artist to condition of the painted panels. These were and vulnerable paint was consolidated with the was common practice and the fading of the create these enchanting images. The information thought to be in a stable and better condition adhesive, isinglass. This was brushed directly on yellow lake pigment is responsible for the present was very useful for the conservator engaged in than the exterior of the cabinet. However, some to the painted surface, covered with acid-free distinct blue tone of the foliage (Table 2). Lead- practical work on the cabinet by clearly showing signs of flaking paint was noted on the small tissue paper, gently rubbed with the ball of a tin yellow is used dramatically for the gold the build up of paint layers and by directing the central door (Figure 2). In 1996 conservation, finger and dried with a heated spatula set at 30°C. highlights and gold braid seen clearly in cross- choice of pigments for retouching. The cabinet is and in particular, consolidation of the painted The painted panels were gently surface cleaned sections from the chandelier and the blue jacket now in a stable condition, displayed with the panels, was requested by Furniture and with saliva applied with cotton swabs. Previous on the central panel (Table 3). doors open in Gallery 3a. This project is a good Woodwork Collection, prior to open display in retouching was softened with solvents and Three different blue pigments are present; example of collaborative work between two the Museum. The detailed condition report from removed mechanically with a scalpel. The areas azurite, blue verditer and smalt, a crushed cobalt students of different disciplines, linking together 1992, mentioned above, proved to be very useful where both the ground and the paint were lost blue glass. The bright blue areas, such as the blue the Furniture, Paintings and Science Sections of when drawing up a treatment proposal. were filled with a paste of whiting (calcium jacket, consist of azurite applied over a gray the Conservation Department. carbonate) and gelatine. The fresh surface was underpaint (Table 3). Azurite, a naturally occuring List of Pigments found shaped and cut back with fine scalpels and dental blue copper carbonate, was fairly scarce and Gold leaf, vermilion, silver leaf, red lake (madder), chalk, tools to resemble the texture of the original therefore expensive3. The cheaper alternative of pink lake, lead white, lead-tin yellow, carbon black, surrounding paint. The retouching was done with blue verditer was used in the larger and less yellow lake, azurite, yellow ochres, smalt, red ochres, blue verditer, orange ochres, green verditer, brown dry pigments in Rhodapas B™(Rhône-Poulenc), a intense blue areas like the sky. Tiny fragments of ochres and brown lake. polyvinyl acetate. smalt are also present in the top layers of samples from the sky. Further reading Analysis of the painted areas of the cabinet was M. Riccardi-Cubitt, The Art of the Cabinet, Thames and undertaken to shed light on the materials and The pink robe of the old man on the proper Hudson, London, 1992 techniques that had been used for their right-hand door panel has an interesting layer construction. Small samples of paint were taken structure (Figure 3). The two layers of white Brown hut: Pigments identified Blue jacket: Pigments identified Sample 2 within paint layers Sample 21 within paint layers Position only scan from areas adjacent to regions of loss avoiding ground are followed by the brown underpaint varnish varnish obviously retouched areas. Polished cross and a pale pink paint layer (Table 4). A - yellow lead-tin yellow sections were prepared and examined discoloured layer follows which is a mixture of - blue azurite, lead white (tr.) microscopically in incident light and under uv smalt and a faded madder lake. This glaze was brown brown ochres, vermilion gray lead white, carbon black (tr.) carbon black (tr.), brown brown ochres, carbon illumination. probably lilac originally but due to discolouration yellow ochres (tr.) under-paint black (tr.), yellow ochres white ground chalk (tr.) A wide range of pigments were found to be of both pigments the present day appearance is far from the original. The bright red areas contain white ground chalk white ground chalk present, all being consistent with seventeenth white ground chalk mixtures of vermilion, red lake and red ochre Table 1 century usage and confirming that the painted Table 2 areas formed part of the original cabinet. The with traces of lead white and carbon black. There Photography by V&A Photographic Studio is a single layer of varnish present on most of the Figure 2. Centre panel, before conservation, 25cm high. wooden panels were prepared with two coats of Foliage: Pigments identified Pink robe: Pigments identified cross-sections. Sample 19 within paint layers Sample 9 within paint layers The cabinet was examined in the Furniture a chalk white ground with the second layer varnish varnish 1 Conservation studio, where the space and higher containing coccoliths , indicating the chalk was greeny / blue blue verditer, yellow - from a natural source. A thin brown underpaint lake (faded), lead-tin lilac glaze pink lake (faded), smalt light levels made examination easier than in the yellow (tr.) had been applied over the white ground; (faded) gallery. It was found that the overall condition of blue blue verditer, lead pale pink lead white, red ochre the cabinet was the same as in 1992 but that the consisiting of mainly brown ochres with additions white, carbon black (tr.), (tr.), red lake (tr.) of carbon black, yellow and red ochres, lead yellow lake (tr.) brown brown ochres, carbon painted panels showed flaking and tenting (a brown brown and red ochres under-paint black (tr.), vermilion form of blistering resembling a tent) of the paint white, brown lake and vermilion - the exact under-paint (tr.), yellow ochre (tr.) layers. mixture varying between samples. This technique white ground chalk white ground chalk was well known in seventeenth century Europe white ground chalk white ground chalk Treatment of the cabinet fell into two stages; and often resulted in a dark, sombre effect2. Position only scan Table 3 Table 4 dealing with problems associated with the References woodwork and then the painted panels. Lifting The paint varies from being applied in a single 1. Coccoliths are minute fossils which are present in chalk veneers were stabilised and missing parts layer to having three thin layers with glazes in deposits. There is a good scanning electron micrograph of replaced before examination of the painted some areas. An interesting point is illustrated by a a coccolith in The National Gallery publication Art in the panels began. Nicola Costaras, Senior Paintings sample taken from a brown area on one of the Making: Rembrandt, 1988, p27. Conservator, generously shared her knowledge drawer fronts, where no further paint was 2. Darrah, J., Internal Science Group Report, Microscopy of and time at this point. Examination by infra-red applied. The brown underpaint was left as the Organic Materials - with details of analysis of ‘The radiation showed that alterations had been made top layer, demonstrating the artisits economy of Musical Party’ (Museum No. W.M.1524-1948). technique (Table 1). in some places and extensive retouching of the 3. Plesters, J., Art in Seventeenth Century Holland, central door panel was apparent in ultra-violet National Gallery Catalogue, 1976, p6. Photography by V&A Photographic Studio 6 Figure 3. Proper right-hand panel, before conservation, 49cm high. 7

Conservation Journal April1997 Photography by P. Perumal P. by Photography 9 Position only scan Position Figure 2. Geometric designs drawn outside houses to deter insects. Figure

in northern India

and camphor (to Rongoli Rongoli in the South. Apart from Kolam (Jasti Madhu) sachets containing a variety of dried leaves and of dried a variety containing sachets an effective have proven to be spices, which Neem leaves, insects. means of discouraging cloves and peppercorns powder, sandalwood provide a in these sachets and are included together with effective repellent; fragrant and sweet flag been added). These bags which a little wax has are replenished every three months with the altered slightly each time ratio of the contents Of gaining immunity. to prevent the insects is probably the best these substances, camphor used extensively as both known and has been a fungicide (on burning,an insecticide and as is and an acrid smoke, camphor oil produces to deter flying insects). used inside buildings are afforded The manuscripts themselves furtherprotection by wrapping each one in a woven, red coloured cotton cloth. This tradition that has a practical basis, as it has been found insects are repelled by red dyes and pigments for this reason, red 1). Furthermore, (Figure leather and book cloth is common in indian libraries and has been specified by the Government of India for the binding of all official papers. practices in rural homes in India are Traditional Each day the also interesting to the conservator. and a area outside a family home is swept clean in the mixture of mud and cow dung is spread areas surrounding the buildings. A geometric design is then drawn in the earth with 2). In South India, powdered rice flour (Figure this is usually left uncoloured, whereas in parts of northern the powder is pigmented. These India designs are known as having great aesthetic merit, these designs have having great aesthetic merit, these designs insects the added advantage of attracting crawling to the towards them and away from the entrance is home. The effectiveness of this technique enhanced if rice flour is mixed with red ochre and then sprinkled around the doorways and along steps leading to the house. Both the red and the chemical colour of the powder, composition of the pigment are sufficiently unpalatable to crawling insects that it will prevent them crossing the threshold. and are called

is a common ingredient in insect repellents, sold is a common ingredient chemist; turmericover the counter at the is also The repellent is used as an insect repellent. which is rubbedmixed into a stiff paste, into every tenth leaf of a palm manuscript after it has on which the leaves of been written. The strings, are also dyed with the manuscript are threaded, them an aqueous infusion of turmeric to make less palatable to insects. The Library’s palm leaf manuscripts collection of is in good condition due to good housekeeping practices, including the prevalence of a number leaf manuscript of traditional practices. Palm storage is of particular interest, as natural insect and repellents have been in use for many years have proved effective against cockroaches, silverfish and book lice. Dried leaves from a the neem tree are sometimes placed between book front and back covers of the book to deter the lice (which feed on the fungi attracted to picked hygroscopic paste). The neem leaves are and in springtime, when the tree is in full flower The natural the leaves are a red colour. most insecticide contained in the leaves is at its potent at this point. The palm leaf manuscripts are stored in closed wooden cupboards on open shelves of stretched rope. Inside each of the cupboards are several Position only scan Position

Michael Wheeler Conservation Paper Conservator, Senior Paper P. Perumal P. India Thanjavur, Nehru Scholar, insects in India insects Traditional practices for the control of control the for practices Traditional 8 P. Perumal is a Books and Manuscripts Perumal P. conservator at the Saraswati Mahal Library in of a South India. He was a recipient Thanjavur, assisted him in which Fellowship, Nehru Trust undertaking a three month internship in the Sections of the Victoria and and Book Paper Albert from April to June 1996. The Museum following article is based on a seminar he gave to the Department. The Saraswati Mahal Library is housed within the and was developed by Thanjavur, Royal Palace, 1535 the Maratha Kings of Thanjavur between and 1673AD. It contains an extremely important in collection of manuscripts and books written and English on all aspects Telegu Sanskrit, Tamil, of art, culture and literature. The Preservation Section of the Library carries out the conservation of a wide variety of materials, which include palm leaves, scroll paintings, western manuscripts and books. The one Perumal), staff consists of one conservator (P. is manuscript repairer and an assistant who responsible for the oiling of the palm leaf manuscripts to ensure their continuing flexibility. This is carried out by application of citronella oil with a soft cloth. The oil is rubbed into the surface of the leaf and this helps to increase flexibility and to deter attack by insects. Citronella Figure 1. A manuscript wrapped in protective cloth. 1. A manuscript Figure

Conservation Journal April1997 Perumal P. by Photography Photography by Sonja Müller Sonja by Photography Conservation Journal April1997 11 While taking the lace off, the gathers and cross the gathers lace off, taking the While with the marked row of lace were points of each as the stitch of fine polyester thread same colour The strands of it had been attached. holes where artificial in tassels were documented pearls and 1). (Figure the same way The lace was wet-cleaned in polyester lined (Figure photographic trays using de-ionised water 2). It was allowed to soak for two hours with and some gentle agitation, using a natural sponge out changing the water twice. It was then laid onto Melinex, with the template underneath, and Little cones blotted with acid-free blotting paper. made from Melinex were inserted underneath original the gathers to ensure the lace dried in its drying,three-dimensional shape. After the lace satin silk was stitched back onto the dry-cleaned polyester threads as using the colour-coded Before guidelines to position the rows correctly. stitching back the components containing cellulose nitrate both the bodice and skirt were cleaning and steaming extensively steamed. After the satin regained much fresher, the dress looked its sheen and the drapery natural body and its sculptural effect. Samples of the filter paper used process demonstrated how in the dry-cleaning much soiling was released in the two solvent baths. it was not possible to remove the Unfortunately, soiling from the train since it was too ingrained. The contrast between the successfully cleaned areas and the train had increased, causing it to look more dirty This was visually than before. disturbing but nothing could be done about it. in mind that the dress However it should be kept Position only scan Position Figure 2. The rows of lace were wet-cleaned and laid out to dry on Melinex with the template under- Figure neath. Cones of Melinex were inserted into the gathers to dry the lace in its original shape. all the lace, 4 , the construction and nature of 3 Position only scan Position

Overall the bodice and skirt the bodice Overall structurally were were worn to the fact that they stable due very cared for afterlittle and well of May the death the waistband The only weak area was Primrose. It had become surprisingly fine silk. made from tornfragile and of the skirtbecause of the weight The fastened quite tightly. and the stress of being satin pleats and drapery were deformed since the flat and folded. The silk dress had been stored dulled with ingrained dust as satin was soiled and as rustwell as local stains, such and mould. The on top of the train. The lace heaviest soiling was but showed yellow decoration was still sound, is a sign of cellulose discolouration which deterioration. Conservation was determinedMuch of the treatment by the dress was intended to go fact that the wedding in two on display and can therefore be described they sections: cleaning and mounting. Together contributed to stabilise the dress in structure, support it while on display and improve its appearance. 1) Cleaning flush Whereas it is possible to wet-clean lace and (de- out some of the degradation products with ionised) water soiling on the silk satin bodice and dress only soiling on the silk satin bodice and dress technique. Prior to allowed a dry-cleaning specialising in sending the dress to a dry-cleaner the cleaning of historic textiles artificial pearls and tassels were carefully ensure the authentic re-application removed. To after cleaning, meticulous documentation of the original design was essential. This included and written, drawn and photographic records making templates by tracing the shapes through Melinex™(Imperial Chemical Industries Ltd). Figure 1. The tassels - taken off and carefully documented to ensure the correct taken 1. The tassels - Figure re-attachment after the skirt was cleaned. Photography by Sonja Müller Sonja by Photography to the body, and held up and held to the body, o have been tied at the front to keep the lace close the lace front to keep have been tied at the fashion. The side seams to the body in a modest of the bodice confirm that the outfit was intended to be worn in the evening as well, out by about an inch to because they were let of movement. Inside was provide more freedom of the bodice. a belt to secure the positioning Underneath the arms small silk there were bodice covered pads to absorb perspiration. The of was decorated with lace and two strands artificial pearls. heavily The point at the back of the bodice was resting boned and designed to extend outwards at an angle of almost 90 by a bustle cage. Whereas the bodice was and carefully sewn, the obviously tailor-made stitching of the skirt was surprisingly rough even though the drapery was sophisticated. The skirt was constructed from a silk satin base onto which was several layers were draped. The straight base lace covered with asymmetric rows of the same as found on the bodice and further decorated and with ten tassels composed of metal thread artificial pearls. Along the bottom of the skirt satin. there was a panel of intricately pleated silk made up Three panels of fabric of the same width the train. The outermost ones were draped roughly into place and across the front, tacked pulled back over the bustle. The outer edges were folded onto the surface of the train and stitched down. Underneath the outer edge of the train there was a brush of heavily starched frill and pleated plain weave cotton. Inside the skirt at centre back, just above where the bustle cage would be, there was a square cushion covered with silk which was intended to rest on the cage. was piled onto the bustle and on the left Fabric of this, there was an opening to adjust the fit and correctoutside. Also inside the silhouette from the skirt, the bustle cage would just below where have been there were two sets of boned tapes. When tied they secure the flat and slender front from within. The skirt at the waist with fastened four hooks and eyes. . This type 2

. It was made in 1885 for her marriage. It was made in 1885 to 1 Textile Conservation Student, RCA/V&A Conservation Course Textile wedding dress wedding Sonja Müller Conservation of the “May Primrose” of the Conservation 10 of fashionable decoration started to be used in fashion only the year before May Primrose married. Judging from the design and size of the bodice and skirt, May Primrose was a young, fashion-conscious woman, with the perfect figure to suit this style beautifully. The wedding outfit was made by Messrs. London, in 1885. It Gladman and Womack, consisted of a fitted bodice, a skirt with train and knitted silk stockings. Both bodice and skirt were made from cream silk satin, and decorated with rows of cotton machine-embroidered net, artificial cellulose nitrate and pearls made from metal thread tassels. The pointed, elbow-length bodice was boned and lined with cotton. It opened at the front and was the lacing was fastened with lacing. Most likely originally hidden by lace rosettes and bows. For wear as a day dress on the occasion of the wedding, a lace chemisette filled in the very low neckline, the cut of which would allow the gown to be worn after the wedding as an evening gown. A thin silk ribbon ran around the outer edge of the lace along the neckline and would The wedding dress of May Primrose (T428&A- The wedding dress of Dress and 1990) became part of the Textile and AlbertCollection of the Victoria in Museum 1990 Henry Littledale. The couple then moved to India a year later in a riding and May Littledale died together were packed accident. Her belongings England. The wedding dress and shipped back to was never worn by anyone else and remained in As such it is an totally unaltered. the family, invaluable example of the height of mid-1880s fashion - a very slender silhouette with elaborate skirts pulled back and draped over a bustle - which was popular for only a short time. The choice of drapery and decoration is also a reflection of contemporary high fashion. The overall design of the wedding dress is in asymmetrical, yet carefully balanced, sculptural form and gives an impression of refinement. The artificial pearls stitched onto both bodice and skirt are made from cellulose nitrate

Conservation Journal April1997 Conservation Journal April1997 13 Position only scan Position

Figure 4. The wedding dress of May Primrose after 4. The wedding conservation.Figure Photography by V&A Photographic Studio Photographic V&A by Photography Tyser in memory of Norah Susan, the Tyser Avril Dowager Lady Remnant and accepted by & Dress Textiles Hart, Senior Curator, Collection. 1993. February of the American Institute of Conservation 22, 1983. Conservation, Rd, Deal, Kent. 271 Sandown Therefore, a second cage was made using strong was made cage a second Therefore, Iit was also covered with Calico. steel boning was not the original, it constructed unlike so that, unwanted movement prevent To collapsible. belt of the cage the dummy the when dressing chemisette was to the corset. The was stitched with the curator as there made in consultation in the collection to refer was no suitable object silk crêpeline, a light, even to. It was made from May 3). Originally, weave silk fabric (Figure have wornPrimrose would probably a chemisette as there was no conclusive of matching lace, but decided to give an evidence of this, it was original look without indication only of the distract from the dress. letting the chemisette dress onto a size 36 Before mounting the & Stockman), the Stockman dummy™(Siegel with a waistband was supported. It was backed stronger silk and secured by couching. 4) can now be seen in The wedding dress (Figure Gallery 40 and is displayed together with a ballgown which was also worn by May Primrose brief around 1886. The two dresses illustrate a period of fashion and complement one another beautifully. Acknowledgements Hart and Avril Hillyer, Lynda to thank I would like Sue North who gave me the opportunity to work my on this object, and Marion Kite who was supervisor for this project. I am also very grateful the corset, chemisette Hill who made to Audrey and the second bustle cage, and everyone who helped by responding to my enquiries. References 1. Given to the Museum in 1990, by the Hon.S.F. 2. B., Internal FTIR Keneghan, analyses, 3. Stained Cellulosics, Journal Hutchins, J., Water 4. and Costume Cleaning and Doré, Textile Editors Note-The May Primose wedding dress has since been the source of inspiration for the of Gos Primrose bridal gown. Wizard Position only scan Position

Figure 3. The complete underpinnings: chemisette, corset and bustle cage. 3. The complete Figure

was worn, most likely danced in and that the danced in was worn,most likely depends on the of the dress also aesthetic quality the design and texture. richness in 2) Mounting technique is crucialThe mounting the to costume. It safe display of historic authentic and the right silhouette is impossible to achieve that resemble the original without underpinnings contemporary ones. of May the display of the wedding dress For of a contemporaryPrimrose a facsimile corset, were constructed.bustle cage and chemisette In and bustle cage, patternsthe case of the corset and from objects within the Textile were taken first facsimile of the bustle Dress Collection. The cage was constructed from modern synthetic cotton tape and was an boning covered with when it was exact copy of the original. However, rigid tested, it proved to be neither strong nor enough to hold the weight of the skirt. 12 Photography by Sonja Müller Sonja by Photography

Conservation Journal April1997 Conservation Journal Conservation Journal

The site we were given was by no means ideal; use diagrams and images as much as possible; Exhibitions: how do they do it? the gallery outside the Museum restaurant, where • Easy to understand? No, not really. Again, this people queue, meet, wait, walk and sometimes April1997 comes down to too much text; April1997 look at whatever is on display. But, it had one Alison Richmond major advantage which we were eager to exploit; • Professional looking? Yes, thanks to the skills Training Co-ordinator, Conservation Research the potential audience of visitors and museum of the designer and the generosity of the firms employees. So, given our site and our audience who produced the panels and the display case Last year, I was given the rare opportunity of sort of thing on a regular basis and on a far larger we wanted our display to be eye-catching, for the wedding dress; stepping into curator’s shoes. I organised an scale. Also I have learned a number of things: you informative and easy to understand in a short • What about the students? The timing of the exhibition - actually, a small display - but from my can’t do anything in the V&A without the help time. As a V&A display it had to look professional display meant that they had to produce the starting point of ignorance it might as well have and goodwill of a lot of people, big exhibitions and at the same time it had to fulfil the purpose text and images for it, conserve their objects been an all time blockbuster show! I have get priority over everything else (our display of a degree show - all six graduating students had and write their major projects - all at the same survived the experience with the highest regard coincided with William Morris) and in the end, it to be represented equally. We wanted a lively and time! They were terrific and I hope they feel for my colleagues in the collections who do this all miraculously comes together. attractive design which would convey the idea the results were worth the effort we all put Each year, the graduating that conservation was anything but stuffy. We into this new enterprise. students of the Royal commissioned a student from the Royal College Acknowledgements College of Art/Victoria of Art to design the graphic elements, but the The RCA/V&A Joint Course in Conservation and Albert Museum most difficult part of the project was writing the would like to acknowledge with gratitude the (RCA/V&A) Joint Course text. There was so much to say about the field of financial support of the following for the in Conservation have conservation, the Department, the Course, our RCA/V&A Conservation 1996 display: taken part in the annual approach, the process of conserving an object, RCA Degree Show. the objects themselves, the students and all on The Conservation Unit of the Museums & Unfortunately, the six panels. Galleries Commission, Merlin Display Contracts problems of borrowing Limited, Genix Imaging Limited, Willard As far as objects were concerned the star of the and exhibiting museum Developments Limited, Secol Limited, show was a splendid nineteenth century wedding objects in these Conservation Resources (UK) Limited and dress (Figure 1). By far my most nerve wracking surroundings for such a Conservation by Design Limited. With special task was commissioning the design and short period are thanks to Amelia Noble. construction of a display case large enough to enormous and so we hold the dummy and fully extended train. This Notes were delighted when the brought me up against the conflict between what, A review of the display by Mary Brooks appeared Museum agreed to host a as a conservator, I felt I ought to do and what in Conservation News 61, 1996, p71. display of the students’ would actually be possible on a shoestring work. This would be an The next student display, RCA/V&A Conservation budget. Conservation specifications for display opportunity to inform 1997, will be in the Restaurant Foyer at the V&A cases are achievable at a cost. Other sources of visitors about from 11 June to 25 August 1997. anxiety were the environmental conservation in general, conditions: we expected the as well as about the temperature and relative humidity to Course and the fluctuate considerably in the summer significant contribution months. Luckily, the fluctuations in the students make to the relative humidity were buffered Museum’s work. It would sufficiently by our display cases. In the also be educational: end, we were happy with the achieved involving the students in compromise, between the ideal and all aspects of exhibition any potential risk to the objects planning, including (conservation ethics at work!). making decisions about However, the pressure to meet a Position only scan what objects are suitable deadline made me aware of how to go on exhibition, conservation can at times be preparing objects for perceived as an obstacle. exhibition and transport, preparing the display Did we succeed in our aims? Position only scan cases, installing objects, • Eye-catching? Yes, thanks to the checking light levels and splendid graphics by Amelia Noble; monitoring the • Informative? Probably a little too environment throughout much so. The real challenge is to Photography by V&A Photographic Studio the exhibition period. keep the text to a minimum and to Photography by Alison Richmond Figure 1. May Primrose wedding dress in its display case (Museum No. T428-1990). Figure 2. Rachel Oliver preparing a basket for transporting a partially conserved Delft Jar to display.

14 15 Conservation Journal Conservation Journal

Methods of Copying This latter technique has been extensively The Arundel Society - techniques in the art “Every man will naturally and documented in various journals of the period. The tracings were known to have been exhibited April1997 unavoidably mix something of himself in April1997 of copying all he does, if he copies with any degree of in their own right to simulate the interiors from liberty...”3 which they were traced. Generally, they were reduced in scale and painted up in thin Victoria Button One of the problems the Society faced with watercolour washes so as to best mimic the Paper Conservator, Paper Conservation regard to the issue of copying was ensuring the translucency of the fresco technique. Rossetti, in accuracy of the copy, this was often debated. The a letter to William Allingham in 1856, wrote about The Department of Prints, Drawings and The Arundel Society, founded in the same year as accuracy varied depending upon the copyist, the the copyist Mrs Higford Burr who was in Italy in Paintings (PDP) in the V&A is now home to over the Pre-Raphaelite movement, saw the progress image depicted and whether it was to be used for the same year, describing her techniques: 300 watercolours produced by copyists employed of art in England as being dependent on popular reproduction or purely recording purposes. The “...10 hours on top of a ladder to copy a by the Arundel Society. A recent display of a taste. It was established with the aim to promote subscribers would have had little or no idea of Giotto ceiling being nothing to her. She has selection of the works at the V&A, not only a greater knowledge of art through the what the original looked like since they were not been travelling all over Italy with Layard, marked the National Gallery’s gift of the publication of literary works and reproductions. subject to the forms of modern communication and they together have given one one’s first watercolours to the Museum but complements The works to be recorded and reproduced were and image formation that we have taken for real chance of forming a congruous idea the large collection of Arundel reproductions, Italian fresco cycles, although classical art was granted. Although most of the techniques used of early art without going there...”4 also held in PDP, made from the very same included from the outset, and a handful of by the copyists have not been documented, they watercolours. Although the Society was founded Northern European artists’ work was also copied. most likely did one or more of the following: Technical examination of Adoration of the before the establishment of the South The Society was named after the connoisseur and a) copied in watercolour directly from the Magi by Schultz Kensington Museum their links have been strong. collector Thomas Howard, second Earl of original; The Arundel Society was not creating an interest Henry Cole, the Museum’s first Director, took the Arundel and Surrey - a man whom Horace in Northern European art in the same way that it lead in expanding the Museum’s collection of Walpole described as the “father of Vertue in b) executed preparatory drawings from the had with the so-called Italian primitives, since reproductions as a way of disseminating art to England”2. The history of the Arundel Society is original, composing the finished work in the fascination with German Romanticism had the masses. I was the conservator for this display. inextricably linked to the history and their studios; already begun in the early 1800s. Schultz was Assessment of condition showed that many of methodology of art reproduction, as well as the c) made tracings directly from the originals. employed by the Society in the early 1860s until the exhibits required attention, some more popularisation of art, and it should be seen in the his death in 1882 or 1883, because his technique, complex than others. One of the professional context of other such societies established for the copyists employed by the Society was Christian dissemination of moral and educational material. Schultz who copied Hans Memling’s Floreins Triptych in 1863. It is his central panel - Adoration of the Magi - that I have chosen to discuss in the context of methods of copying and materials. The Arundel Society 1848 - 1897 “The object of the [Arundel] Position only scan Society has been to preserve the record and diffuse a knowledge of the most Position only scan important remains of painting and sculpture, to furnish valuable contributions towards the illustration of the history of Art, to elevate the standard of taste in England, and thus incidentally to exert a beneficial influence upon our native and national schools of painting and sculpture...The forthcoming work will show the efforts made in order to popularise high art among people who have everything to 1 Photography by Victoria Button. learn and gain experience.” Photography by Victoria Button. Figure 1. Adortation of the Magi (Museum No. E209-1995) by Christian Schultz after Hans Memling Figure 2. Detail of E209-1995, of distant view of the Magi approaching on camels and horses depicted through the right hand side vista. before conservation. 346x426mm. 16 17 Conservation Journal Conservation Journal

described below, was seen to have mimicked that could have made use of this method since lead creates a dense paint layer if applied in a The watercolour technique was well suited to the of the Northern European artists so well. His white is known to produce a particularly smooth concentrated manner. Although we cannot be reinterpretation by the lithographer since it style of using a heavy application of watercolour ground. certain, it is likely that the type of watercolour involved colour separation using watercolour April1997 April1997 and body colour on vellum evoked the Watercolours are composed essentially of ground used was one of a new range, the so-called “Moist washes. The lithographer analysed the appearance of the materials used by Memling in pigments and mixed with a gum arabic medium. Colours”, produced by Winsor and Newton in component colours of the watercolour, and since the original - oil on panel. The size of the original The addition of an opaque substance, often a 1846. These came in metal tubes and would Schultz was both watercolourist and lithographer panel and Schultz’s copy are very close and this white pigment such as chalk or blanc fixe, would permit the application of large areas of relatively of this copy it could be summised that he would would no doubt have been an advantage in the have produced the density needed to mimic oil dry watercolour at full saturation. This limited have been well disposed to this part of the accuracy of the copying. painting. It produces an appreciable film and use of moisture would have suited its application process. Each colour was given a lithographic If burnished and finished to vellum which is extremely reactive to stone for printing - sometimes up to 20 stones to a smooth plane, vellum moisture. Thus the appearance of an oil were used. The outline version of the image was becomes a receptive technique could be suggested in watercolour. drawn in a red chalk. This was non-receptive to surface for detailed and Thickly applied watercolour is likely to fracture grease, and therefore non-printing, and the fine painting, and thus is a and this type of cracking was evident in Schultz’s outline was transferred to each of the stones - perfect material on which copy, and paint loss had occurred in some areas. one for each colour. The 1860s saw more to copy such a panel by The Virgin Mary is historically shown wearing a sophisticated colour theories come to fruition, Memling. If a painter robe of lapis lazuli blue. Azurite in an oil medium and hence more realistic effects emerged using a wanted to particularise is known to darken over the years and Schultz linear image coloured by stipple combinations of every detail he would tend would have recorded what he saw. This would yellow, blue and red with the extra flesh-type tints to select a smooth paper have been a darker blue and was, as the analysis for hands and faces. or skin, since a textured found, copied by using synthetic ultramarine. The Arundel Society continued to copy and surface would not suffice The red pigments seen on this object were reproduce works until 1897, when it found itself for fine lines and smooth Position only scan predominantly red lakes with the addition of overwhelmed by the impact of the photography covering. Scientific small quantities of vermilion. The red lake, market as a cheaper and faster means of analysis by EDXRF (Energy perhaps a carmine or crimson lake, is found in reproduction. Between 1848 and 1897 some 37 Dispersive X-Ray nearly all the red garments. Lakes are generally engravings and 197 chromolithographs were Fluorescence) to aid transparent but, as in this case, can be opacified issued6, as well as over “430 fictile casts and identification of pigments, by precipitation on to a base such as zinc oxide. electro-bronzes of pagan and medieval carvings... identified lead in nearly all Carmine/crimson lake is made from cochineal, a 26 books and texts to accompany the prints and the samples taken and this natural organic dyestuff made from the bodies of works on stained glass, illuminated capitals, the can imply one or two the female insect Coccus cacti. Carmine lake is Bayeux tapestry and on lace making.”7 options - that a lead white an aluminium or aluminium-tin lake of cochineal References: (lead carbonate) ground with water and alcohol: vermilion is a bright but 1. Art Journal, January 1869, p26. was applied before opaque mercuric sulphide. drawing or there is lead 2. Ledger, T., A Study of the Arundel Society 1848- The sky area was found to contain lead white and 1897, PhD, 1978. white present in all the cobalt blue. Cobalt blue is a compound of cobalt pigments to render them oxide and phosphoric acid. It is bright, clear and 3. Thomas Winstanley, Observations on the Arts, more opaque. The former translucent but not as deep or intense as 1828. is a very old technique ultramarine. 4. Ibid. 2. and could indicate the use of a metal stylus to draw The border was assumed to be a lacquer of 5. Cennini, Cennino d’Andrea, The Craftman’s the outline of the copy. shellac origin because of its glassy, shiny Handbook ( “Il Libro dell’Arte”) Translated by Cennini5 describes the appearance, with a dark brown stain. It has little Thompson, D.V. Jr., Dover. adherence to the surface and suffered much loss. process of covering sheets 6. Bird, A., An Earnest Passion for Art, Country of vellum and paper with Reproducing the copy for publication Life, 3 June, 1976. white lead and a carrier In 1852, Layard, a Committee member, suggested 7. Ibid. 6. (probably a gum in this the use of chromolithography as a means of instance) to be used as a reproducing the copies. The chromolithographs coating or ground to were far more attractive and colourful for the improve the strength of subscribers than the plain linear woodcuts which the metallic image. This were initially produced by the Society. In 1859 technique continued to be the Department of Science and Art made an practiced in the annual grant of £100 to the Society so that the nineteenth century. It prints could be sent out to educational seems likely that Schultz establishments across the country. Photography by Victoria Button. Figure 3. Detail of E209-1995, of right hand figure. Pigment analysis showed predominant use of a red lake.

18 19 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

A visit to Liverpool spectrophotometer. The results are these pieces. The aim of this project

April1997 RCA/V&A compared and their relevance for was to resolve these doubts. textile conservation is discussed. Of the The occurrence of fakes and forgeries Jennifer Swan Conservation tested detergents Synperonic N and Administration Intern, Conservation Research in the art world generally, and in Orvus WA removed the greatest Islamic pottery specifically, is outlined amount of soil. Synperonic N is most The V&A’s Conservation staff were invited to the painting on the bandages and that there was Course Abstracts and then a brief history of ceramics in suitable for cold washing solution, Persia, leading up to the manufacture attend an open day at the new Conservation a baby crocodile inside! Another interesting whereas Orvus WA achieves very good The last issue of the Journal to include of lajvardina ware, is given. Most of Centre of the National Museums and Galleries on display was of a shattered ceramic jug, which results in a washing solution of a abstracts from student essays and our knowledge about lajvardina ware Merseyside (NMGM). Approximately 20 explained how plaster casts were made of the higher temperature. representatives from the V&A, visited the centre missing pieces. Replacement pieces were then research projects was April 1996 comes from a treatise written in Persia in Liverpool on 28 September 1996. The thrown with such precision that even the finger (number 19). The aim remains to in 1301AD by Abu’l-Qasim. The Conservation Centre brings together, for the first patterns on the sections matched. Throughout provide a comprehensive collection, Merete Winness information contained in this treatise time, all the conservation staff at NMGM. What the exhibition the preventive aspect of publishing a selection as space and Furniture Conservation on the methods and materials used in makes the Conservation Centre unique is its conservation was stressed. opportunity allows. Here we present A feasibility study of the use of video its production are detailed in the synopses of three major projects report. function as an educational centre for the general I spent the afternoon wandering through the microscopy for wood identification public. I am an American university student completed by students in their final of furniture in situ. Having established the background of studios. All of the conservators were willing to year, together with some recent training in medicine and as part of my course, I talk about the objects they were treating. Many of March 1996 lajvardina ware, attention is turned to spent a semester in London as an intern. The visit History of Design essays from first year the four pieces in the V&A. Various the studios were quite large, particularly those students. Hopefully the abstracts 7868 words to Liverpool took place during my time in the for painting, textiles and organics, paper and analytical techniques, ranging from continue to illustrate the diversity of The recent availability of portable video Research and Training Division of the sculpture. I also visited their library which was a stylistic assessment and solvent tests, specialisms embraced by the Course microscopes could encourage Conservation Department. large room providing abundant space for the to thermoluminescence (TL) dating and the astounding range of subjects conservators and scientists to The open day allowed us to see both the public growth of their collection. and Scanning Electron Microscopy involved in the students’ academic overcome the difficulties presented by areas and the conservation studios. The studios (SEM), were applied to the suspect The obvious down side to this level of public work. in situ microscopy and help to reduce are made accessible to the public through weekly pieces and to a lajvardina tile access is the consumption of a conservator’s time and refine sampling. The intention of tours. The main public facilities are a large Final Year Research Project Reports fragment as an experimental control. on education rather than object treatment. This is this research was to conduct a permanent exhibition entitled ‘Caught in Time’ The results of all the analyses are a difficult challenge to overcome, but NMGM feasibility study of the use of a portable and a two-way video link. There are also periodic Sonja Müller discussed and conclusions regarding appears to have struck a desirable balance. video microscope for in situ wood live demonstrations showing packing techniques Textiles Conservation the authenticity of the four lajvardina Visiting the studios, most conservators seemed identification of furniture. The project and object handling. An investigation into detergents ceramics under investigation are content with their studio space and excited by suitable for cellulose fibres in textiles was carried out in two phases; testing drawn. Finally, possible future A preview of the video link was given in a multi- the challenges associated with working in a conservation. the method under optimum conditions treatments of the pieces are examined purpose room on a large viewing screen. This 20 public oriented facility. in the laboratory and secondly applying March 1996 and their ethics considered before a minute video link was designed as an informal I thoroughly enjoyed my visit to the Conservation video microscopy in the museum recommendation is given. 14700 words means to show the work of a conservator to a Centre. Conservation is relatively unfamiliar to galleries. Conclusions on the feasibility large audience. The arrangement was quite the public and NMGM has incorporated This research project is an investigation of using a portable video microscope simple: the interviewer was with the audience fascinating methods to provide a new outlook on into detergents suitable for wet for in situ wood identification of History of Art and Design Essays while the conservator remained in the studio the art world. cleaning cellulosic objects in textile furniture were drawn based on these with an object and two cameras. No technicians conservation. It outlines the wet results. Sophia Shirley were required once the equipment was set up. cleaning process and some of the Metals Conservation The interviewer facilitated a discussion between problems encountered when the An investigation into the medieval Rachel Oliver the audience and the conservator. Questions process is used for cleaning historic role of the wild man (with reference Ceramics and Glass Conservation asked included: “What is the object?”, “Why is the textiles. The investigation focuses on to late fifthteenth century salvas of object being conserved?”, and “How will you the wet-cleaning of cellulose textiles An investigation into the authenticity the “de besties a de cardos” type conserve it?”. The cameras can be controlled by and looks in particular at five different of four pieces of lajvardina ware in from Portugal) both the conservator and the interviewer. A detergents currently used in various the Victoria and Albert Museum January 1996 March 1996 variety of camera angles demonstrated the countries for textiles conservation. The wild man (or woman for that cleaning and repair techniques used. Standard soiled cotton samples were 13966 words matter) of the middle ages possessed Next I explored ‘Caught in Time’. Hand-held washed in a washing solution of each For several decades four pieces of human physiology and was generally audio devices played recorded information which detergent, in a set of trials at different ceramics have been displayed in the covered in a shaggy pelt of hair explained the interactive conservation displays. temperatures, durations and amounts Victoria and Albert Museum, London, excepting the knees, and in the case of One of my favourite displays showed how X-rays of agitation. Their performance is as examples of the thirteenth century the woman, the breasts. They were were used to examine a mummified crocodile examined in terms of soil removal Persian ware called lajvardina. In portrayed to be of various sizes and without damaging the bandages. This technique power and prevention of soil recent years, however, doubts have vastly contrasting humours in almost had allowed conservators to discover more about redeposition using a arisen concerning the authenticity of every conceivable medium open to the

20 21 Royal College of Art Victoria & Albert Museum Joint Course Conservation New Staff outdoor usage and plastic furniture the silk industry, French Silk weavers where possible. The paper includes not succeeded in ousting the Italians as the only a chronological history of finest producers of silks. The use of furniture in the twentieth century, but fashion as a form of political also traces the origins of the propaganda and the impact of movable/stackable chair, and the use of Versailles and Louis’ court on the rest Position only new materials in the design and of Europe is also considered as well as production of garden furniture. the means by which French fashion scan Comparisons are drawn between the and luxury goods were disseminated contemporary ‘plastic garden chair’, abroad. earlier designs in garden and house furniture and the ‘classic plastics’ designs of previous decades. Because there is so little information published on the history and development of Position only scan Position only scan Position only scan garden furniture, the essay focuses on the history of ‘high end’ furniture as opposed to ‘low end’ utilitarian domestic furniture. The discussion medieval artist. This paper seeks to therefore presents primarily a personal track some of the wild man’s origins view and seeks to raise questions about from contemporary scholarly pursuit the development and acceptance of and the realisation of mythological the ‘plastic garden chair’. Alice Rymill Alison Norton Carl Taylor legends. A discussion of the pertinence Administrative Officer, Paper Conservator, Systems Developer, of the wild man’s existence in the Conservation Research Paper Conservation Conservation Research medieval period, until the turn of the fifthteenth century, seeks to establish During my final year at University, studying After graduating from the MA course at My appointment is the first of its kind in the Conservation Department, so his context within medieval thought Social History (specialising in African and Camberwell College of Arts, November Indian Medieval History), I took part in a six 1996, I was fortunate to immediately begin challenging times lay ahead. There are and expression. A handful of decorative month placement at the National Maritime working in the Paper Conservation studio. I many projects in my schedule, the first salvas bearing images of the wild man Museum at Greenwich. Here, I researched am on a two year contract to work on a priority being the implementation of the are reviewed in more detail, providing and produced an education pack for preservation project connected with the new Conservation On-Line Administration a focus for his portrayal. The particular schools, relating to a core unit of the rehousing, storage and conservation of the (COLA) computer system. This and many National Curriculum. This sparked off my Poster Collection. I will also assist in the other projects will hopefully lead to a period of the end of the fifthteenth interest in museums; along with certain preparation of the major exhibition of greater openness and increased century is relevant as it is an eve of Position only aspects of my course and voluntary work at posters in 1998 and help with the accessibility in the Department’s enlightenment - artistically and a Somerset museum, one summer vacation. continuing programmes of Paper information. Conservation for the other collections. intellectually - not only in Portugal but After graduating in 1995 I worked for the Before moving to the V&A I worked for further abroad. It is this awakening that scan Department of the Environment in Bristol. My training and experience prior to, and Dorling Kindersley multimedia (DKMM), heralded the demise of the wild man as This post involved me in day to day running during, my time at Camberwell included creating foreign language multimedia CD- a mystical beast he was always of the Countryside Division’s general office. conservation work at Gateshead Archive and ROMs. My role there was to liaise between Pub armchair (courtesy of Allibert Ltd Contract) I moved to London, in November 1996 and the Library at Kew Botanical Gardens. Spanish, Brazilian, and Colombian supposed to be. took a post at Marks and Spencer’s Head College based visits and workshops were publishers and DKMM, producing such Jane Rutherston Office in their Recruitment section. supported by projects at Westminster titles as the Family Medical Guide, Cathedral and Montefiascone in Italy. I have Eyewitness Photogallery and Chronicle of Book Conservation I feel that my new role in the Conservation also worked as an archives and library the 20th Century. Prior to this I spent five Roger Griffith Department will allow me to combine the Fashion & the luxury goods market assistant and in an arts cinema in Newcastle- years working in the Department of Furniture Conservation interest I have in museums with the under Louis XIV upon-Tyne. My first degree was in Medieval Computer Studies at the University of The plastic garden chair: origins and administration experience I gained in my Studies and Spanish and I hope to Glamorgan. Firstly, as a research assistant January 1996 previous work. You will be seeing me as the evolutions. eventually work in South and Central and then as a lecturer in multimedia and ‘face’ of the Conservation Library. In January 1996 5526 words America. However, at present I am enjoying human-computer interaction. I graduated addition I will be giving administrative my first long-term conservation job, and in 1991 with a BSc (Hons) in Computer This essay considers Louis XIV, his support to the RCA/V&A Conservation This essay examines the origins of the looking forward to working with and Studies and received a PhD from the Course and to other members of the ubiquitous ‘plastic garden chair’. ambition to dominate the fashion and learning from the other staff. University of Glamorgan in 1995. This was Conservation Research team. During the research for this paper luxury goods market and how this was for work on the Semantic Hypermedia however, little published information achieved, through the development of Architecture, a classification driven foreign trade, policies of expansion and museum hypermedia system. My current could be found on garden furniture in research interests include the application of general or the ‘plastic garden chair’ in a strengthened domestic economy. It user modelling and interface agents as an particular. The essay therefore takes a discusses how through Jean-Baptiste aid to using complex hypermedia and broad look at chair design highlighting Colbert’s efforts to raise the status of database systems.

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