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Conservation Journal October 1997 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation Contents V&A Conservation Journal No 25 Silvia always kept a strong interest in art of the art’ storage methods and conservation and music. She made the decision to techniques for modern materials. October 1997 develop this interest after attending Following this, during an internship at the conferences on the subject of “Art and Tate Gallery she became interested in the Science”. She managed to get a scholarship varied finishing and colouring techniques 3 Editorial from the University of Trieste to spend a found on metal sculpture. The RCA/V&A year in the Laboratory of Thermal Analysis Jonathan Ashley-Smith, Head of Conservation Department Conservation Course offers the chance for and Conservation Science at Birkbeck Lyndsey to continue her investigation into Magdalena College, University of London. 4 Preparations for ‘Carl and Karin Larsson: Creators of the Swedish Style’ the secretive world of art foundry Kozera Tina Manoli, Exhibitions Officer, Larsson Exhibition, As a research assistant under the patination in an attempt to find a practical Aged 35, Polish Exhibitions Department supervision of Ms Marianne Odlyha, Silvia means of analysis, identification and was involved in projects aimed at a documentation which can be used by The technology of mounts and frames Nicola Costaras, Liaison Officer for Larsson Exhibition, physical-chemical characterisation of conservators working with sculpture. used with photographs in the nineteenth Paintings Conservation painting materials and monitoring and early twentieth centuries Lyndsey’s supervisor will be Jonathan environmental parameters. Ashley-Smith, Head of Conservation, with (2 year PhD) 7 Showcases - An External Perspective Silvia feels that the RCA/V&A Conservation support from: Derek Pullen (Head of HND in Paper Conservation (Library & Audrey Matthews, Clephan Scholar, De Montfort University Course offers her a great opportunity to Sculpture Conservation, Tate Gallery), Archives - Photographs), Camberwell learn more about scientific conservation Richard Rome (Head of the MA Sculpture College of Art (1989) technologies in a stimulating and fascinating (Foundry) Course, RCA) and Diana Heath, 8 Pollution Monitoring within the Historic Royal Palaces MPhil in Conservation - Historic environment and to use chemistry for Head of Metals Conservation, V&A. David Howell, Conservation Scientist, Textile Conservation Studios, Photograph Frames, Royal College of Art conservation of works of art. She has a Hampton Court Palace (1997) strong interest in textiles and intends to Paula Mills, Conservation Scientist, Conservation Research concentrate her research in this area. Magda successfully completed her MPhil research into the contemporary framing of 10 Hearing the Original Instrument Silvia’s supervisor will be Brenda Keneghan, historic photographs on the RCA/V&A Polymer Scientist in the Science Group, V&A. Robert Barclay, Senior Conservator, Canadian Conservation Institute Conservation Course this year. She will continue to develop this theme in the next two years, leading to a PhD Degree. She 12 Conservation on the Internet: Practicalities and Possibilities intends to concentrate on a more detailed Carl Taylor, Systems Developer, Conservation Research technical study of photograph enclosures, Editorial Board Metaxia including the materials, technology and Jonathan Ashley-Smith 15 Questions and answers: Review of “The interface between science and Venticou manufacture of frames and mounts. Head of Conservation Department Aged 27, Greek conservation” The thesis will extend knowledge and Alan Cummings Helen Jones, Course Tutor, RCA/V&A Conservation Course Sculpture Conservation understanding of framed photographs as Course Director, RCA/V&A Conservation Course (2 year MA) problematic, multi-component museum Lyndsey objects. She hopes to establish links between 17 Conservation under the Microscope: Two reviews of RCA/V&A Ptychion (degree) in Conservation of Graham Martin the deterioration processes of photographic Head of Conservation Research, Morgan Antiquities, Technological Educational Conservation 1997 images and specific types of enclosure, a Conservation Department Aged 32, British Institution of Athens (1996) Alan Borg, Director of V&A complex issue due to the sensitive nature of Identification and documentation of Helen Shenton Colin Mulberg, Education Department During the five-year course at Athens, the photographic medium. Assistant Head of Conservation, modern bronze patinas Metaxia studied the conservation of stone, As a practising conservator of photographic Conservation Department (2 year MPhil by Thesis) ceramics, glass, metals, mosaics and organic 19 Postcards from Paris materials. She gained practical experience materials herself, Magda is also keen that Managing & Production Editor HNC Applied Biology, University of Anna Hillcoat-Imanishi, Elizabeth-Anne Haldane, Laura Bennett and through several projects and placements on her work may contribute to the Paula Mills, Conservation Scientist, Hertfordshire (1988) development of conservation procedures Conservation Department William Lindsay, Students on the RCA/V&A Conservation Course archaeological sites, in museums and in BSc(Hons) Archaeological Conservation, historical buildings. and effective storage systems for collections Designed by V&A Print Unit Cardiff University (1991) of framed photographs. 20 New Students for the Academic Year 1997/98 Metaxia has participated in the Photographs are credited individually Helen Jones, Course Tutor, RCA/V&A Conservation Course Lyndsey worked for several years as a conservation of wall paintings and technician for a pharmaceutical company sculpture, while the range of excavated whilst taking a part time HNC in Applied © 1997, Copyright The Trustees of the 24 Conservation Department Staff Chart material she has worked on includes Victoria & Albert Museum. ISSN 0967-2273 Biology. Her constant interest in art and fossilised bones of dwarf elephants and archaeology led her to a course in ceramics from shipwrecks. All enquires to: Archaeological Conservation at Cardiff Conservation Department, By joining the RCA/V&A Conservation Victoria & Albert Museum, University as the best means to combine London SW7 2RL, UK her scientific and artistic interests. Course, Metaxia hopes to broaden and Telephone +44 (0)171-938 8624 enrich her theoretical background and Fax +44 (0)171-938 8661 After graduation she undertook an enhance her career prospects. She looks Email [email protected] internship at the Museum of London. Here forward to applying the skills she learns to she gained experience working on the abundance of antiquities in Greece. The cover shows exhibitions as well as assisting with surveys Metaxia will be supervised by Charlotte Netscape viewing of a web page featuring Carl Talor, and collection storage. Lyndsey was also Hubbard, Senior Sculpture Conservator Systems Developer able to organise a study tour of museums and galleries in America to investigate ‘state at the V&A.

2 23 Royal College of Art Victoria & Albert Museum Joint Course Conservation

Diploma in Conservation and Restoration Editorial Studies, City & Guilds of London Art School (1997) Prior to the diploma course Deborah Jonathan Ashley-Smith completed an access course in art and Head of Conservation Department design. She had previously been a registered general nurse. Susan Earle- The diploma course concentrated on the Mitchell Kirstie Reid conservation and restoration of objects Aged 42, British Aged 29, British made of wood, stone and related materials, Despite the best efforts of the there was violent disagreement with at This will require a difficult change in Conservation Management Metal Patination Research with gilded and polychrome surfaces. Throughout the course she worked on a production team this edition of the least two of the talks. In one instance a attitude for many who are obsessive (4 year part-time MPhil by Project) (2 year MA) variety of objects from the public and Journal will be issued behind schedule locally important object had not been about controlling information and are Registered General Nurse BA(Hons) Fine Art Sculpture, Wimbledon private sectors, including a picture frame, because of delays in producing the allowed to die in dignity but was afraid of the criticism implicit in BSc (Hons) Restoration and Conservation School of Art (1991) plaster casts and stone sculpture. This gave editorial. The most recent excuse for condemned to spend eternity in what someone else interpreting their data in Deborah a broad background to all aspects Susan trained in Edinburgh to be a Kirstie became aware of her interest in not writing it was my attendance at the many dubbed the “iron lung”. In new or different ways. materials and their properties through of the subject. Registered General Nurse. Following conference “Fabric of an Exhibition: An another, objects that were quite working in foundries and through teaching Finally, a few words about Anna registration, her employment in the Her interest in stone conservation Interdisciplinary Approach” organised capable of being revived were left in a and making sculpture. She was aware of National Health Service involved working as developed and during vacations she found Plowden, private sector conservator conservation courses but initially decided jointly by the Canadian Conservation sorry state because of the potential a staff nurse in a ward environment. The employment working on sculpture and and trustee of this Museum, who died to pursue her studies in sculpture. Institute and the North American importance of the dirt and creases. special relationship between patient and architectural projects. During the course recently. During the 1980s she and I Textile Conservation Conference. The My criticism is not about either of carer, combined with the organisational Kirstie has worked with a wide variety of Deborah was accepted as an intern at the worked together to try to reduce the conference was notable for two things: these two approaches but about the demands of the ward environment gave her materials including steel, clay, rubber, British Museum where she spent two gulf that divided conservators in perspex and even snow! She runs the months in the stone conservation the realism expressed in the lack of open discussion of them. If we considerable job satisfaction at the time. institutions from those in the private foundry at Wimbledon School of Art, which department working on several objects that presentations and the deceptive feel so strongly about something why Following the closure of the Bridge of Earn sector. We shared information about allows her to explore new methods of were to go on loan for exhibition. politeness of the open debate. are we so afraid to criticise? hospital in 1993, Susan decided to make a working through practical day to day materials and techniques and also In the Summer of 1997 Deborah found career change and at the same time update experience and problem solving. Textiles have a relatively short life In this issue of the Journal we have about management and organisation. and improve her formal education. work as a freelance conservator. She looks Renovation as opposed to restoration had She has already had a taste of conservation forward to the Course as a means of expectancy compared to other object encouraged criticism of our own Students from our diploma course always been her particular interest, and working at the Wallace Collection for six providing specialised trained and focussing types. This life expectancy is further work by commissioning two non- were given work experience in her wanting to combine this with a study of the months, in their Metal Conservation her interests. shortened if the objects must be on conservators to review the studios and members of her staff visual arts she was drawn to conservation. Department. Her main interest is in metal continuous display in a historic house conservation students’ degree show received specialist training in the and its surface finish, colouration and Deborah’s supervisor will be Martin Holden Susan completed a one year access course decoration. Kirstie’s objectives in studying of Holden Conservation Services. because they are the only examples exhibition. Other articles stress the Museum. However, at the time, this at a local college, moved to London and patination remain broad, but her main aim that have relevance in that context. importance of communication with relationship was viewed in both spent three years at Guildhall University is to explore techniques both new and old. At this conference there was people in other institutions and other sectors with immense mistrust. When studying for a BSc in Restoration and consistent realistic and unemotional disciplines. Many of the authors are she was selected to be on our Board Conservation. She feels that the course Kirstie’s supervisor will be Jonathan Ashley- Smith, V&A Head of Conservation, with discussion about objects coming to the not from the Conservation of Trustees, this was not hailed as provided a broadly based professional support from: Derek Pullen (Head of qualification for those wishing to become end of their lives, being used up and Department but their contributions recognition of the status of the Sculpture Conservation, Tate Gallery), conservators or commercial restorers but having to be replaced. Judging by the indicate the value of collaboration and conservation profession but received Richard Rome (Head of the MA Sculpture her previous work experience has led to a questions following the presentations of sharing ideas. If the Internet is to with total incomprehension and (Foundry) Course, RCA) and Diana Heath, greater interest in management. She feels Head of Metals Conservation, V&A. there was total agreement in the achieve its potential then we must be suspicion. Now, some years later on, that the MA in Conservation Management audience about everything that was willing to be open and to share all I hope that the greater integration of would give detail and body to an area said. Yet within huddled whispering available information. It is not a the public and private sectors is a sign which she is keen to pursue as a career. Silvia Valussi Aged 28, Italian groups at coffee and later in the bar medium for secrecy or control. that attitudes have changed. Helen Jones, RCA/V&A Conservation Twentieth Century Materials in Art, Craft Course Tutor will be Susan’s primary supervisor, with substantial input from and Design Jonathan Ashley-Smith, Head of (2 year MPhil by Thesis) Conservation and other V&A staff. BSc Chemistry, University of Trieste (1995) Silvia studied Chemistry in Trieste, where Deborah she attained the Italian “Laurea” (BSc in Morey Chemistry). During her academic studies Aged 30, British she had the opportunity to spend a year in Germany (University of Regensburg) (2 year MA) and improve her knowledge of polymer Sculpture and Architectural science. To obtain her degree she worked Conservation (collaboration with Holden on a “German” biopolymer made by a Conservation Services) yellow amoeba.

22 3 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation Preparations for ‘Carl and Karin Larsson: October1997 Creators of the Swedish Style’

Tina Manoli, Exhibition’s Officer, Larsson Exhibition Nicola Costaras, Senior Paintings Conservator & Conservation Liaison for the Larsson Exhibition Victoria Cecilia Doran Rönnerstam Aged 29, Angela Geary Aged 27, “Should I die which, surprisingly American Aged 29, British Swedish enough, could happen, I believe An investigation into composition and Computer visualisation of the original Conservation of Portrait Miniatures that the home will carry on just as the ways in which it was used on picture appearance of works of Art (2 year MA) well, although not just in the same frames (4 year part-time MPhil by Project) way. But then it wasn’t the same Painting Conservation, Royal Danish (2 year MPhil by Thesis) BA (Hons) Fine Art, Glasgow School of Art Academy of Fine Arts, Copenhagen yesterday as today. A home is not BA(Hons) Furniture Restoration and (1989) dead but living, and like all living Art History and Preventive Conservation, Craftsmanship, Buckinghamshire College MA Conservation, University of short undergraduate courses, University of things must obey the laws of of Brunel University (1997) Northumbria (1993) Gothenburg (1994) nature by constantly changing...”1 Having initially studied at Kingston During her first degree course in fine art at Cecilia worked for three and a half years as Polytechnic, Victoria spent some time as a Glasgow School of Art Angela developed an a trainee in paintings conservation at two The first major exhibition ever held freelance designer with a special interest in awareness of historical painting techniques. Swedish museums, Jönköpings Museum outside Sweden on the work of Carl and trompe l’oeil decoration. A long standing, This interest led her to undertake an MA in and Nationalmuseum in Stockholm. During wide ranging interest in the decorative arts Karin Larsson opens at the V&A on 23 paintings conservation. this period she worked mainly with easel and in particular, antique furniture, led her paintings on different materials. She has October 1997. It focuses on the famous Shortly after completing her MA Angela to the degree in furniture restoration as she always had a special interest in portrait took up an internship position at the Tate house they created at Sundborn in felt that this would combine her desire for miniatures and at the Nationalmuseum she Gallery, followed by an 18 month contract Sweden and its extraordinary impact on practical skills with historical and had the opportunity to work on and study theoretical knowledge. working in connection with the Dynasties courtesy of Carl Larsson-gården, Sundborn. their fine collection more closely. interior design world-wide over the last exhibition and the British collection. Last Figure 1. View of Carl Larsson-gården. Restoration/conservation work involving Throughout her conservation studies she century. The highlights of the exhibition year Angela set up her own private practice carving, modelling and gilding had been has made portrait miniatures her focus, include a specially commissioned in London; she also lectures part-time at Carl Larsson (1853-1919) is Sweden’s most the subject of specific interest before the always intending to specialise in this field. wooden model of Sundborn and five room-sets beloved artist. In 1889, Carl and his wife Karin course and this was fuelled by vacation the City & Guilds of London Art School, on the Diploma course in Conservation and Cecilia has completed two of the three containing the original furniture and fittings lent (1859-1928) were given a rural cottage in the work for a number of commercial London from the Larsson home for the first time. Almost restorers. These areas were furthered by a Restoration. years of a BA Course in Conservation of village of Sundborn (Figure 1). When the holiday Pictorial Art and was awarded a scholarship all the exhibits are from public and private final year devoted to the study of picture The application of computer imaging in cottage became the permanent home for their to enable her to examine further the frames, the restoration of an early conservation has been a strong interest for collections in Sweden. The show is co-curated by possibilities of getting training in the field large family, it was enlarged and transformed. In eighteenth century frame forming the her in recent times. Angela is looking Michael Snodin, Head of Designs, in the Prints, of portrait miniature conservation. Thus, total contrast to the prevailing style of dark heavy major part. forward to exploring computer image Drawings and Paintings Collection and Dr she will be on leave from the Royal furnishings, its bright interiors incorporated an manipulation technology in greater depth The wider appeal of picture frames led to Academy of Fine Art, School of Elisabet Stavenow Hidemark of the Nordic and applying it to her research. Her project innovative blend of Swedish folk design and fin her interest in composition, particularly the Conservation to take up this studentship Museum, Stockholm with the design historian, will focus on the reconstruction of the de siècle influences, including Japonisme and manufacturing techniques and the and will return to complete her BA.This is Denise Hagströmer, as the guest curator of the original appearance of aged and damaged Arts and Crafts ideas from Britain. The Larssons vocabulary of ornament used and she an unusual arrangement but allows Cecilia paint films on selected three-dimensional section on the Larssons’ legacy. found that this was an area for which there to take advantage of the unique created a style of interior decoration recognised objects. The investigation will draw on was considerable scope for research. opportunity offered by the RCA/V&A The Exhibitions Department arranged a one as quintessentially Swedish with colourfully historical knowledge of techniques and Victoria’s supervisor will be Christine Conservation Course. week trip to Sweden in December 1996 for the painted furniture and woven textiles. Karin Powell, Senior Gilding Conservator at the pigments, existing scientific analysis and V&A’s exhibition designer, Sharon Beard, and designed and produced the textiles and her loom V&A. Jacob Simon at the National Portrait cross-referencing to related objects. Cecilia’s supervisor will be Alan Derbyshire, Senior Paper Conservator at the V&A who ourselves. A two day visit to the house at is one of the objects in the exhibition. Through Gallery has expressed willingness to Angela’s supervisor will be the RCA/V&A 1,2,3 has particular expertise in the conservation Sundborn, now a museum called Carl Larsson- Carl’s watercolours of his house and family the provide advice and information. Conservation Course Director, Alan of portrait miniatures. gården, was included to increase our familiarity couples’ ideas on interior design reached a large Cummings. with the 150 loan objects, to establish the current audience (Figure 2). condition of the objects and the environmental After Carl and Karin Larsson’s death their conditions in the house, to check aspects of the descendants formed a trust, the Larsson Family room-set designs, and to discuss the packing and Association. It was a founding principle that the transportation of the loan. The rest of the week house should continue to be used and not be was spent in Stockholm where meetings were just a museum. Consequently, the family regularly arranged with the Nordic Museum, the holds celebrations at the house, enjoying and Nationalmuseum and an art transport company. using its contents. Not surprisingly, this causes some conflict between those whose priority is

4 21 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

the preservation of the spirit of the place and its during the exhibition will not fluctuate as widely continued use and those who are responsible for (between 45-55%RH and 18-22°C) the painted the preservation of the objects and the fabric of furniture should not be at risk from its temporary

New Students for October1997 the building as an important part of the national change of environment. heritage - with 60,000 visitors a year. Museum or the Academic Assisted by the curator, Marianne Nilsson and home? It is a paradox; the fact that it is still lived- Lennart Persson, a freelance conservator who has in undoubtedly contributes to its special worked on the collection for several years, we Year 1997/98 Victoria Rowan atmosphere and charm but it inevitably causes moved through the house considering each loan Hobbs Carter wear and tear. Throughout our stay at Carl Helen Jones object from our different viewpoints: Aged 26, Aged 29, Larsson-gården, we had, as museum Course Tutor, RCA/V&A Conservation conservation, design, transport and packing British British professionals, a somewhat surreal feeling, as we Course (Figure 3). We checked the object dimensions, Furniture Conservation sat on the chairs, slept in the beds and used the Conservation of Ethnographic Material took photographs, discussed display proposals A record number of potential student (Collaboration with the Horniman (3 year MA) table which we will next see carefully installed as places was offered for the 1997 intake. and hanging fittings. We agreed what Museum) BA (Hons) Politics and English, York museum objects in our exhibition. If all had been taken up, we could conservation work would be carried out on the (2 year MA) University (1990) have started with twenty new students The known vulnerability of large painted wooden painted furniture before it travelled. Lennart’s BTEC National Diploma Conservation and City & Guilds Carpentry & Joinery, York in our target options plus a couple objects to changes in environmental conditions, knowledge of the conservation history of many of Restoration Studies, Lincolnshire College of (1992) meant that the painted furniture coming from the objects was extremely useful. We also who approached us with their own Art and Design (1992) proposals! While it is exciting to be City & Guilds (Advanced) Furniture Carl Larsson-gården was the focus of concern considered the packing requirements of the BA(Hons) Conservation and Restoration, Restoration, York (1995) able to offer a wide range of from the Conservation Department. Problems various objects. The designer discussed the De Montfort University, Lincoln (1995) opportunities in both traditional and Cert. of HE in Furniture Restoration, have arisen when there has been a large room-sets with Anders Eriksson from the Nordic Together the courses in Lincoln offered a innovative areas, it is hardly practical. Buckinghamshire College (1996) difference between the environmental conditions Museum, whose Technical Production broad foundation in all aspects of BADA Diploma in Furniture Restoration, that an object is used to, such as an unheated Department would build them. It was never the intention that every conservation with modules in the West Dean College (1997) church, and those in the Museum. The former place offered would be filled. As conservation of a wide range of materials Our meetings at the Nordic Museum and might have a typical relative humidity of 70%RH expected, some options attracted no and objects. Victoria chose to specialise in Post Grad. Diploma in Furniture Nationalmuseum involved a brief look at the loan Restoration, West Dean College (1997) whereas the relative humidity in the exhibition applicants and others were not filled the conservation of ethnographic artefacts objects, agreeing who would carry out the and ceramics during the third year. space would be set at 50%RH 4. At our request for a variety of reasons. After completing a theoretical degree, packing and transport. The Registrar at the Rowan was interested in a practical the climate in several rooms at Carl Larsson- Victoria undertook an eight week Nationalmuseum arranged a meeting of everyone Given the hard work which goes into placement during her course at Stroud vocation to pursue artistic and creative gården was monitored with electronic loggers5 involved with the loan including the freelance negotiating and arranging District Museum, working on ambitions. Focusing on wood, she began from July 1996. Shortly after our visit, we were paper conservator who will condition check the studentships, it is gratifying to be able documentation and storage projects. This training in cabinetmaking and carpentry. provided with graphs that showed considerable to introduce 12 students who will join was later supplemented with a six month She developed these skills further to loans from private lenders, representatives from include theatre set and prop building, and quite rapid fluctuations in both temperature the Course at the end of September contract as an Assistant Conservator, where 6 the transport company and an officer from the musical instruments, and ecclesiastical and and relative humidity . There were few signs of 1997. We are very pleased to continue she assisted with a range of collections Swedish Royal Air Force. management issues and the relocation of architectural restoration. flaking on the painted furniture so it seems the our collaborative relationship with the the entire collection into improved stores. Being drawn more to the restoration of pieces are able to withstand these sudden As part of the Swedish government’s sponsorship Horniman Museum who will accept furniture, she decided to return to college changes in relative humidity with minimal of the exhibition the Swedish Royal Air Force their second MA student, this time in Following a placement with the Cheshire Museum Service she was accepted as an to study the subject in depth. Three years damage. Since it is anticipated that the conditions offered to fly the room-sets and objects to the Conservation of Ethnographic intern in the Conservation of later she completed the Post Graduate London and return them to Sweden Materials. Our existing informal links Archaeological and Ethnographic Artefacts Diploma at West Dean College. Throughout at no cost to the V&A. First with the Tate Gallery will also be by Historic Scotland/Scottish Conservation this time, Rowan pursued conservation Lieutenant Malmgren briefed us at issues with increasing interest. At West consolidated by the involvement with Bureau. The one year programme involved this meeting on the facilities and two students researching metal the treatment of a diverse group of objects, Dean College amongst other procedures, ranging from an Inuit Seal Gut Parka to a she conserved an early tridarn for the loading procedures of a TP 84 patination. For the first time we have 7 Sudanese Chain Armour Helmet, which Museum of Welsh Life, removing an Hercules aircraft . The Swedish Air established a full studentship in displayed many interesting and challenging unstable varnish layer to reveal a wax finish. Force has had previous experience collaboration with a commercial problems. It was Victoria’s opportunity to A placement at Temple Newsam House of handling fine art shipments8. conservation practice, Holden work with Ethnographic Artefacts as an conservation department allowed Conservation Services, which we Intern that brought her to the RCA/V&A exploration of painted surfaces in the form In addition to the Sundborn loan, expect to be fruitful. Conservation Course and she looks forward of unstable heraldic shields on part of a set the packing and transportation of all to developing and extending practical skills of early hall chairs. the other loans within Sweden were and expertise within this particular Rowan’s supervisor at the V&A will be Nick discussed with the fine art transport specialism under the supervision of Louise Umney, Assistant Head of Conservation, company. As well as the Bacon, Keeper of Conservation at the assisted by Albert Neher and Tim Hayes of Nationalmuseum and the Nordic Horniman Museum. Furniture Conservation. Museum in Stockholm the lenders include four major Swedish museums, nine organisations and 14 private lenders. courtesy of the Nationalmuseum, Stockholm. Figure 2. The Dining Room depicted in For a Little Card Party, Carl Larsson, oil on canvas, 68x92 cm, 1901. 20 5 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

The visit to Sweden was felt to be extremely Notes useful by both the Conservation and the 1. Larsson, C., Åt Solsidan [On the Sunny Side], Bonniers, Exhibition Departments. The Conservation Stockholm, 1910. October1997 Department welcomed the opportunity to build Postcards from Paris 2. Larsson, C., Ett Hem [A Home], Bonniers, Stockholm, on the positive experience of similar 1899. Anna Hillcoat-Imanishi, Elizabeth-Anne Haldane, Laura Bennett and William Lindsay reconnaissance for the William Morris exhibition RCA/V&A Conservation Course Students in 1996. In the past, loan objects have often been 3. Larsson, C., Larssons, Bonniers, Stockholm, 1902. seen for the first time by a conservator on arrival 4. Martin, G., Policy into practice, Museums Practice, 4, Paris! Ah, the city of romance and art, skeletons in the cupboards (the in the Museum just prior to the exhibition. interested in the extensive use of light pp.46-51, 1997. Gene Kelly and Cyd Cherise, good anthropological collections), at the Having the opportunity to examine the condition bleaching, for which a special food and good wines, - but not for us. Musée de l’Hômme, which is under of the objects well in advance meant that any 5. The loggers used were Tinytalk II (Orion Components cupboard had been constructed. We We were in search of conservation, threat from Presidential plans to take objects that needed conservation could be Ltd) and were placed in the Kitchen, the Dining Room, the also studied fan conservation before students eager to learn, to broaden the science out of Ethnology and identified and treated in good time before Studio, the Old Room and the Miner’s Cottage. collapsing, exhausted, in a nearby cafe. our horizons, to understand foreign replace it with a Museum of transportation. Preparations could be made in 6. In the Dining Room over this period the temperature ways. Preservation our Civilisations and Fine Arts. Heads were Thursday (Anna’s Birthday!) advance for particular display and packing range was 15.5° - 25.5° C and the relative humidity range watchword. rolling, some from guillotine victims, The treasures of the Ancient East were requirements. Anders Clason, the Swedish was 14 - 74%RH. The objects were packed in September Education our others from Napoleonic soldiers, brought close to us at the Musée Cultural Attaché in London, worked tirelessly to 1997 and the equivalent period in 1996 had an overall raison d’être. others from a need for careful Guimet. Mdme Feugere and her raise sponsorship and persuaded six Swedish range (in the Studio) of 35 - 52%RH but in a given 24hours cushioning. colleagues showed us tenth century Ministries, including the Ministry of Defence, to the range did not exceed 6%. scrolls and seventh century temple support the exhibition. Project team members No trip to Paris would be banners in amazing condition and we benefitted enormously from early visits to 7. Maximum dimensions of cargo 12 x 2.7 x 2.5m (lxwxh); complete without a look at the discussed their conservation Sweden, generously financed by the Swedish pallets measure 2.23 x 2.68m (shorter in the direction of fashions, so on Tuesday we went to treatment in depth. M. Cailleteau, the Embassy. Without the visits we would not have flight); maximum load per pallet 2,400 kg including netting; the Musée de la Mode et du paper conservator, enlightened us the same appreciaiton of how truly cherished and temperature in the cargo hold averages 15-20°C with Costume. Mme Antoinette Villa further about the most appropriate important the Larssons are to all Swedes. relative humidity averaging 7-15%. gave us a tour of the methods of conserving ancient conservation studios and the 8. The Swedish Royal Treasures exhibition for the Royal Chinese texts. We were interested to impressive 4000 sqm of Academy of Art, London. note that Japanese methods of modern textile storage space, conservation such as wet lining are the largest in Europe. Later, we not favoured here. After lunch at the separated for visits to the Gobelins Foreign Office canteen with our hosts, Tapestry Workshops and Père we dispersed. Some went shopping, Lachaise cemetery. Montmartre had others went to see even more culture cast its spell over Nick, drawing him at the Grand Palais and the Musée du to its artistic heart as he worked on Moyen Age. If, on our final evening we the practical art of his research with had hoped to listen to some modern sketchbook and palette. Sixteenth jazz in one of the hip bars around the century François Clouet miniatures at Bastille, we were disappointed: we the Louvre, also kept him busy as he were not allowed in, supposedly compared them with Hilliards. We all because of overcrowding... met at the end of the day at the Musée D’Orsay. Friday, we had a few hours to spare before catching the train back to Wednesday was a day for paper and Monday saw a party London, so we dashed out to the history. At the Bibliothèque Nationale divided. Some studios of the Service de Restauration de France, M. Thierry Aubry presented headed for de des Musées de France. There was a his work on a sixteenth century edition l’Orangerie, to see moment of panic when a train strike the Monets and of a Koran, attacked by verdigris and threatened to keep us in Paris but other jewels of insects. Damaged bindings had been we persevered and made it back to Impressionistic art, replaced allowing flexibility and giving the V&A! strength. Following this we toured the then subsequently The Conservation students would like studios, science lab and gilding got lost in Pigalle to thank Sarah Dodman of the RCA workshops. In the afternoon were were and Montmartre! for dealing with logistics, all the welcomed at the Musée Carnavalet The others, led people within the Parisian institutions paper conservation studio by Mdme astray by William, for their time and expertise and Helen visited lots of Beatrice Liebard and Mdme Christiane Jones and Alan Cummings for their Photography by Nicola Costaras Gregorie. We were particularly organisation and company. Figure 3. View of the Studio, showing furniture, tablecloth and wall sconce that will be in the exhibition

6 19 Conservation Journal October1997 7 2 Museum Practice, 2nd Edition, or buyer beware! caveat emptor The Museum Environment, Showcases Checklist for Specifiers, Butterworths, 1986 vol.1, no.2, July 1996 the need to use inert materials in construction and potentially damaging however, dressing. In reality, with the more traditional environments still exist more modernshowcases and some acquisitions. For composites, like example, wood and wood-based were commonly quoted medium density fibreboard, museums had attempted to as being in use. Many such environments by using minimise the effects of barrier methods, such as varnishesand surface testing of the potential for treatments. In-house materials to cause corrosion also appeared to be quite common. units Other specifications involved the use of sealed with separate compartments for easy access to lights and the display envelope. In general the internal with showcase environment was controlled only adsorbent materials, such as silica gel. Externally, temperature most galleries have relative humidity, and light levels controlled to Thomson’s 2. Thomson, G., References 1. M., Cassar, Acknowledgements I am grateful to De Montfort University and The Conservation Unit of the Museums and Galleries Commission for financial support. to thank staff of the V&A Science Group for making I would also like my stay an enjoyable one. Note The author is currently a lecturer and the MSc Conservation Science Course Leader in the Department of Chemistry De and Physics at Leicester. Montfort University, specifications with some seasonal variation. It is in specifications with some seasonal variation. are this area of technical compliance that purchases steered by manufacturers. who It is clear that most members of the group replied were well informed of the current guidelines the with respect to museum showcases. However, dearth of valid replies, and the difficulty in some information, seem to suggest the cases of gaining key is, the responsibility for showcases is ill-defined. That enough matter might not be perceived to be of high of them. priority for one person to be in sole charge If true this is unfortunate. It could well be more cost- effective to control the internal micro-climates within showcases than the whole gallery. Reliance on manufacturers to produce showcases risk, with such a high specification can also be a particularly conditions and objects if full details of the to be displayed are not known at the time of briefing. As the law has it is a checklist, 1 Showcases - An External Perspective An External - Showcases Audrey Matthews De Montfort University Clephan Scholar, We are all well aware of the value of a secure are all well aware of the value We the protection that it can museum showcase and damage to the objects provide against physical was recently demonstrated displayed within it. This to the V&A who threw a fire by an unhappy visitor in this case the extinguisher at one. Fortunately, for The use of showcases day. safety glass saved the environmental factors is a protection from adverse but one that has relatively new consideration, within the museum received a lot of attention factors that must be profession. The aggressive gaseous pollutants, insects, guarded against include dust and dirt, as well as extreme fluctuations in and environmental conditions such as temperature reports Scientific that investigate relative humidity. methods to prevent, or at least minimise the degradative effects of these factors are commonplace. of Research work has focussed on the examination the construction materials and the design of the should showcases, for example whether or not they been be sealed. The results of relevant studies have brought together to produce several sets of most guidelines, which aim to assist in making the buffered appropriate decisions, for the creation of a and relatively inert environment within a showcase. The most recent guide by May Cassar

which can be of great value when choosing a new which can be of great value when choosing showcase. at I, an academic and a scientist on a brief placement of an the V&A, was interested to find out how much impact this information was having in practice within museums. This was of particular interest as academic researchers are often associated with theoretical ideals with little consideration for the practical this in mind, I logistics and costs involved. With devised a questionnaire which not only requested information about the current range of showcases in use, but also attempted to survey the views and policies of museum professionals. as The first difficulty was to decide whom to survey, the duties of museum staff are not always clearly defined. Members of “The U.K. Conservation Scientists’ Group”, who had access to collections, seemed most appropriate and seventeen were invited to complete the questionnaire. A handful of replies were returned, five were completed of which in full. All the individuals who replied recognised the standard considerations which minimise environmental degradation within showcases, such as Reproduced from the Exhibition leaflet. Exhibition the from Reproduced is a useful Education Department, RCA/V&A ConservationRCA/V&A 1997 The display based on the 1950s television on the based The display difficult issues introduces some receiver also is wortharound what preserving, which could expanded. have been Overall, of what to public understanding contribution much time and effortmuseums do, and how simple task of protecting goes into the apparently Who knows, with and displaying our collections. this the need for ‘DO NOT more displays like disappear... TOUCH’ signs might Colin Mulberg, is a helpful display of conservation work. The interactive 18 that aims to explain to V&A visitors some of the that aims to explain that is necessarybehind-the-scenes work to Though the maintain museum collections. on a number of issues display is small, it touches the subject; the amount central to understanding the range of be undertaken, of research that must analysis and work on processes needed for that face conservatorsobjects, and the issues and main case studies also cover curators. The seven objects, showing that a variety of different conservation extends far beyond paintings, and is just as applicable to twentieth-century objects. into the The display works best when it draws us process display on the corrosion of early medieval stained glass seemed popular with visitors as it enables them to see for themselves what the problems of the were, and what needed to be done. A click mouse then shows the same object after conservation. A different menu selection gives that including past use some background history, clear why corrosion occurredmakes in the first place. This kind of supporting interpretation is easy to use and understand, and helps by for a directing attention back to the real objects more informed look. help to It is not just the high-tech methods that get the point across. The display on decorative the paper papers for Japanese screens looks like relief is being freshly pulled from the woodcut The printing process clear. the block, and makes the equipment and tools utilised throughout display also shed some light on physical processes, but would be more useful if they were material next to sample pieces of worked showing what happens when they are used. The display also scores highly when it tackles to visitors’ experience. Most issues that are linked people want to touch museum objects even though it is not allowed, and the case study on chair shows the corrosion that the steel ‘Paris’ can occur when this ruleignored. It is certainly is not common knowledge that the human touch causes the most damage to museum objects. Conservation that is those subjects is one of to museum difficult to communicate notoriously of the results by definition most visitors. Almost it Yet of conservation view. are hidden from work for many that holds a fascination is something of mystery just enjoy the sense people. They and secrets. the feeling of discovered ConservationRCA/V&A 1997

Conservation Journal October1997

Conservation Journal October1997 Reproduced from the Exhibition leaflet. Exhibition the from Reproduced 17 Director of the V&A production, albeit working on a veryproduction, albeit working limited common to all museum budget (a factor sadly displays today). as good as its content But an exhibition is only no doubt that a fascinating and here there can be was presented. range of works and problems Contemporary furniture medieval and appliances, Japanese screens and glass, Victorian painting, paper conservation were all on show and the various treatments illustrated. Some questions were posed (should we be trying to conserve the whole of a 1952 television set, when the electronic components, which are often unstable, - are not integral to its design?), but not answered we were left wondering how the debate would be forward. It is no bad thing to leave the taken visitor with questions in his mind and the of exhibition eloquently revealed the range problems which any conservator faces. So I am happy to agree with our South African visitor that this was a show well worth visiting the wherever you came from. My one V&A for, criticism was the accompanying leaflet - elegantly designed, but difficult to read and illustrating some conservation projects by the students Only a minor which were not in the show. quibble! Alan Borg, Education Officer, Education Department Education Officer, Director of the V&A “I wish I could say that I came all the “I wish I could say that if I could, it way just to see this - would have been worth the journey alone. Nevertheless, I’m thankful for my great timing.”

Conservation under the Microscope: Two the Microscope: under Conservation 1997 Conservation of RCA/V&A reviews Alan Borg, Colin Mulberg, These words were written in the ConservationThese words were written book by a visitor Course Exhibition comments and one could certainly not from South Africa has to be wish for a more ringing endorsement. It that admitted that the lady in question revealed she was a conservator and therefore could be the sortregarded as biased, but nonetheless it is of enthusiastic reaction which any exhibition organiser would cherish. The Conservation Course was established in 1989 and has established an enviable reputation worldwide for its quality and for the for achievements of its students. So we can take granted the fact that this year’s graduating class ready was both skilled and well trained, each one for a career in his or her chosen field. However, what this would not necessarily have meant that an they did during the course would make interesting public exhibit or that the students on an themselves would be capable of putting exhibition which is up to the standards expected to judge of a display in the V&A. I therefore tried the exhibition as an exhibition, making no of allowances for the somewhat accidental nature nature its contents or the relatively inexperienced of the exhibitors. The display was well laid out, given the cramped The conditions imposed by the restaurant lobby. cases consisted of simple and clear displays of objects, both before and after conservation, and the main explanatory attached to texts were screens and walls. These text panels were professionally produced, easy to read, and informative. Modern museum interpretation was provided by an interactive video dealing with the stained glass conservation displayed project alongside. This interactive was easy to operate, efficiently and provided good and varied worked information. the exhibition In all these ways, could be considered as a professional Photography by V&A Photographic Studio. Photographic V&A by Photography S 2 gave the - pollutants, and in one air- conditioned room only the H levels of- were lower than the external values. Also there was . For instance, . For 2 were similar and Cl 2 2 levels than the rooms , NO 2 2 S, SO 2 ). -3 six weeks and on collection it was noted that a six weeks and on collection it was noted number of incidents had occurred. Some of the tubes had gone missing, one of them (at had been relocated to Hampton Court Palace) and one of the metal Toilets, the Ladies Public bent in a samplers had been mysteriously VOC Uri Geller style transformation. The analysis for H they were in, and the rooms had lower levels than outside. The levels of NO very encouraging result that with these pollutants there was no particular cause for concern (Table 1). The results were very much in line with the results found at other institutions showcases had lower SO regardless of locale. The air-conditioned areas did areas regardless of locale. The air-conditioned not appear to give any additional protection from Figure 1. Sampling tubes (approx. 6cm long). Figure S), 2 . One of the 1 and VOCs at these quite and VOCs 5.3 1.7 39 4.8 2.1 0.57 Kensington PalaceKensington of London Tower Max Hampton Court Palace 0.086 Mean125 Max 0.08122.8 0.166 Mean 42.8 Max 0.12 19.7 7.2 0.116 40.6 1.9 Mean 22.9 5.1 0.07 37.1 1.75 13.9 2 ) and nitrogen dioxide 2 2 2 Conservation Scientist, Textile Conservation Court Studios, Hampton Palace Conservation Scientist, Textile S - 2 , NO 2 NO Cl SO H Conservation Scientist, Conservation Research Table 1. Summary of the pollutant measurements for each location (units are µg m Table

), SO -

in situ ).

2 Paula Mills, Paula Royal Palaces Royal David Howell, Pollution monitoring within the Historic the within monitoring Pollution different locations during spring 1996. In order to achieve this sampling tubes were placed at each of the three palaces, in display and storage areas as well as externally 1). (Figure The samplers were for four to Obviously it takes a long time to set up such a long Obviously it takes never methodologies and such an exercise would Royal have come within the remit of the Historic followed Group (HRPG). The HRPG had Palaces and the progress of the monitoring with interest thought that it would be beneficial to carry out a were similar survey within our organisation. We but not aware of any major pollution problems this was not an aspect of conservation that had the been actively investigated to any extent in AMECP project there was a the end of the past. At and period where all of the regimes were in place therefore it was suggested that a joint project with the V&A be established. They had the necessary expertise and contacts whilst we had the funding. of The aim was to highlight any specific problems same which we were not yet aware, whilst at the at time enable a comparison of the environment of London, Hampton three main sites, the Tower The survey Palace. and Kensington Court Palace was to measure hydrogen sulphide (H chloride (Cl 8 The success of the Assessment and Monitoring of The success of the Assessment Propertythe Environment of Cultural (AMECP) reportedproject has been widely (NO most significant and interesting aspects of this most significant and and implementing project was establishing for pollutants, various monitoring regimes compounds (VOCs), including volatile organic sulphur dioxide (SO

Conservation Journal October1997 Conservation Journal October1997 9 In edited et al., The 14, January 1995, British Museum Occasional Paper 116: British Museum Occasional Paper pentanol propanoate V&A Conservation Journal case the lack of significant problems was problems significant lack of case the particularly be as it would undoubtedly welcome reduce any large and expensive to both difficult sites. The results problem at these scale pollution if for any reason future use may have significant a particularwe feel that a new location has we will be able to use pollution problem. Then from which any future these data as a baseline deviation will be apparent. Acknowledgements Final Results of Project EV5VCT92-0144 ‘Assessment and EV5VCT92-0144 ‘Assessment of Project Results Final monitoring of the Environment of Cultural Property”. the EU, postprints for conference sponsored by DGXII of IN PRESS. 11-13 December 1995, Würzburg, Germany, 2. Blades, N., Measuring pollution in the museum environment, pp9-11. The authors would like to thank the following for their The authors would like N. Blades (now at University of East input to the project Dr. Anglia), G. Martin (Head of Conservation V&A) Research, of Historic Royal Palaces). and C. Allington (Housekeeper S. Watts work carriedAlso we acknowledge the out by Dr. Ltd and G. Lawson University), Gradko (Oxford Brookes (De Montfort for this study. University) References 1. Martin, G., Assessing and Monitoring the Environment of Cultural Property, ‘The Interface between Science and Conservation’, J., 1997, pp91-98. Leißner, by Susan Bradley, level 2 etrahydronaphthalene, octane, methyl nonane, trichloroethylene dimethyl 75%+ of locationsdimethyl hexane, toluene,siloxane, dimethyl octane, methyl cyclohexane, 25-75% of locationstetrahydronaphthalene, ethyl benzene, dimethylmethyl nonane, decane,pinene, undecane benzene, methyl less than 25% of locations butanoic acid, decanol, methyl formate, butyl heptane, ethyl cyclopentane, ethyltoluene, ethyl benzene,dimethyl octane,tetrahydronaphthalene, dimethyl siloxane, methyl benzene methyl heptane, pentanol decane, undecane propanoate benzenetoluene, siloxane, methyl cyclopentane, ethyl ethyl benzene, dimethyl dimethyl hexane, heptane, methyl benzene, methyl nonane, pinene, dodecane, propanetriol triacetate, methyl naphthalene, methyl cyclopentane, ethylmethyl benzene, decane, pineneundecane benzene, ethyl methyl butanoic acid, dodecane, propanetriol triacetate, pentanol propanoate, tetradecane Palace of Tower London Hampton Court Palace t Kensington Kensington Table 2. Summary of the VOCs identified at the palaces. 2. Summary the VOCs of Table little palace-to-palace differential with only with differential palace-to-palace little of at The Tower levels of pollutants slightly higher Hampton Court’sLondon. Despite semi-rural less polluted it was not significantly environment city centre locations. than the two two outliers. The externalThere were SO least an appeared to be at Palace at Kensington than at any other order of magnitude greater fallen the sampling tube had location. However, the monitoring period and from its mount during contaminated. The could easily have become unexpectedly high level of second outlier was an of London. at The Tower chloride in one location that has been made to The only suggestion cooler local air-conditioning explain this is that a with a chlorine- is periodically sterilized containing chemical. was limited to the ten The analysis for the VOCs was most prevalent compounds and acetic acid not measurable with the selected technique. and The results showed a variable qualitative tubes 2). The VOC (Table up quantitative make results were placed at the sites, in pairs but, the the were difficult to interpret due to a variable level of agreement. Also propanetriol triacetate as yet was identified in 20% of the locations and there is no explanation for this. It is always less dramatic to get ‘ordinary’ results in this from any monitoring exercise. However, answer either. the The Interface Science and between British Museum Occasional Paper Number Paper British Museum Occasional answer, then, only to seek conservationthen, only answer, the References course candidates with a scientific background? It with a scientific course candidates in the afterglow to say yes, especially is tempting Science is importantof this conference. and set ... conservationso. And yet, and yet to remain is that aspect above science and to stress more than many skilled and dedicated all else could cut off people from entry to the profession. No conservator can afford to ignore science, but whose chief strengths lie there is room for those conference might be on the elsewhere. The next interface between art history and conservation, and that wouldn’t provide Is 1. Bradley, S. (ed.), 1. Bradley, Conservation, 0-86159-116-X 116, London, 1997, ISBN 16 that conservation that so special is not conservators learn cannot from other fields. is the rôle of these (conservation)“So, what and there was Definitions abounded scientists?” and about whether technical some debate actually constitute studies per se archaeometrical conservation science, or should the term be reserved for activities directly concerned with preservation and treatment? It was not resolved. Can scientists and conservators work together? the value of asking the right question. note Yes, the is not really what The problem, however, conservation scientist may do, but ensuring that this is not Currently, what is done is effective. because there are too few always the case, mainly of them. Conservation science is being done by scientists and conservators who are not specifically conservation scientists, leading to continual re-invention of wheels. The conservation scientists who do exist are too thinly spread, metaphorically and geographically. at the New specialist rôles were also suggested by conference - “clinical consultant” analogues and “conservation technologists” by Ashley-Smith & Scott quoting Torraca. and Podany Tennent These rôles would be to interpret between conservators and scientists and facilitate the translation of research findings into practical to have processes. Such individuals would need highly developed sensibilities in both conservation and science. Of course these people the exist; but they have not generally adopted specific function of ensuring that conservators and scientists are not only on the same wavelength, but in phase. And what does it all mean for the conservation teacher? As Oddy said, education is fundamental to the breaching of barricades. Brooks and science not emphasised the teaching of Fairbrass only as a list of facts but as a paradigm for conservationadmirable aim for any practice, an conservation course. It is important that conservatorsencouraged simply to should not be leave science to conservation scientists, but must be interested and involved themselves. Indeed, if there are to be more conservation scientists, the need for scientifically literate conservators becomes more pressing, not less, in order to maintain a meaningful dialogue.

Conservation Journal October1997 Conservation Journal October1997 15 Norman Tennent’s career enabled him to provide career enabled him Norman Tennent’s an authoritative overview of the state of conservation science and also to suggest a practical way forward. He was far from alone in identifying communication as being crucial to the advancement of conservation science; the difficult representative and part to achieve it in a timely, is is one importantconstructive fashion. Publication proposed the launch of a new tool and Tennent journal for Conservation Science. As described, it sounded laudable, but could have the disadvantage of removing “proper” science from the conservation mainstream and reinforcing communication barriers. Stephen Hackney’s call for a special fund for conservation research was countered by Clifford Price’s assertion that conservation is no more special than many other disciplines and should expect to compete on the same terms. This may dismay some in conservation - the “specialness” of conservation is why we do it, and we want everyone to recognise it - but there is a danger research that protectionism could lead to inferior and so defeat its purpose. If we’re not currently communicating effectively, why not? One reason seemed to be that stereotypes still thrive. Mary Brooks and Sheila of parodied popular conceptions Fairbrass sinister scientists with their slides of mad and/or characters. Despite frequent cautions about generalisations, much of the discussion still of seemed to be based on the scientists’ view conservators but emotional, as highly skilled instinctive and scientifically ignorant. Correspondingly conservators see scientists as cool but patronising rationalists with little appreciation of the complexities of conservation. and David Scott gave a The paper by Jerry Podany balanced review of scientists’ and conservators’ perceptions of each other and what each can contribute to conservation McCrady’s projects. brisk presentation also gave a pithy summary of some of the reasons for conflict. Using examples from beyond the conservation sphere, she both suggested measures to improve the communication flow at local level and confirmed answer. To answer. the . 1

Questions and answers: Review of “The Review answers: and Questions conservation” and science between interface Helen Jones RCA/V&A Conservation Course Course Tutor, There were numerous case studies illustrating the There were numerous case studies illustrating to conservation contribution science makes they research and problem-solving. The fact that that will not be discussed here does not mean - many they were neither interesting nor valuable were both - but I feel that their overall message Surely few would dispute as read. can be taken that science is vital to conservation practice today. a first step in scientific - stated, As many speakers or any other - research is to frame the question In his foreword to the pre-prints correctly. is the Andrew Oddy asks the question “So what rôle of these (conservation) scientists?” and this conference theme. as the intended may be taken More to the point was Ellen Ruth McCrady’s title, “Can scientists and conservators work together?” A historical perspective on the British Museum and Susan Bradley was provided by Sarah Watkins brought this up to date. They reminded delegates that conservation from the influence developed of scientific thought and method on traditional, the craft-based This makes restoration practices. (unattributed) comment on day three that “if there was no conservation,there’d be no conservation somewhat scientists” appear churlish in hindsight, however amusing to conservators at the time! in the audience One always hopes that the next conference one One always hopes that Naive, perhaps, the answer. attends will provide but universal truth is comforting. equally Almost really is out there - so is the belief that it to be discovered. This somewhere, waiting 2-4 April 1997), like conference (British Museum, not provide others before it, did be fair, its title did not really pose a question, but its title did not really pose a question, be fair, a to describe and explore allowed speakers territory if not virgin, is well worth which, re- visiting. An interface is a region where two They are species of some kind come together. often interesting places with potential for unusual phenomena or change. Is an interface a or connection or a separation, common ground that it no-man’s-land? The answer is, of course, can be both, and both scenarios were represented at the conference Illustration by Robert Barclay. Robert by Illustration was removed and replaced to was removed 1 The third axiom, ‘history’ is selective, refers to all the social and intellectual transactions that surround objects of cultural value. There is a natural the treble side of the bridge, became thicker. inserted. The soundpost, which lies under allow the new neck to be set in, instead of allow the new neck to The bottom nailed flush as was traditional. block and corner blocks were often removed, but quite often sometimes temporarily, ones. replaced with enlarged eighteenth and in the course of the as the range of the nineteenth centuries instrument was increased as far as possible. was removed and a new The old fingerboard wear out and are one glued on. Fingerboards either planed down or replaced on a regular basis. in terms The bass of acoustics. far-reaching which lies under the bass side of the bar, bridge, was removed and a much larger one winnowing process where good is preserved and improved, while irretrievably bad is discarded. - longer The fingerboard became progressively - Changes within the instrument were the most - The top block Figure 1. Schematic diagram of a violin. Figure It is also virtuosi.

maintenance 2. Fashions change 2. Fashions 3. ‘History’ is selective 1. Playing necessitates repair and Playing necessitates 1. radically at the end of the eighteenth century fashions. in response to musical The neck angle evolved as it was adjusted to support string the higher tension demanded of a louder the neck was instrument. Usually, replaced and the original scroll spliced onto it. During this process the string length was increased by up to half an inch. The bridge was required to be much higher to complement the increased neck angle.

Senior Conservator, Canadian Conservation Institute Senior Conservator, Hearing the Original Instrument Original the Hearing Robert Barclay 10 This article Robertbased on a talk which is on 1 May 1997 as partBarclay gave to the V&A of the V&A Conservation Colloquia. the great bowed string It is commonplace that instruments of Cremona, made during the centuries, continue seventeenth and eighteenth fortunatein use in the hands of The following paragraphs offer a deconstruction of a classic Italian violin in the form in which it 1). has come down to us today (Figure - The neck angle of the violin changed commonplace to restore historic musical commonplace to restore instruments to playing condition so that the can be explored. There music of earlier periods of treatment for an historic are three categories musical instrument: the instrument can be maintained in its current playing state, it can be or restored to a conjectured previous condition, it can be preserved in the condition in which it now stands, unplayable but with the unique information it possesses intact. These categories restitution and are termed here currency, preservation, and each possesses unique features that characterise it. Currency the valuable is concerned with keeping aesthetic and historical qualities of the instrument alive through a continual process of restoration and improvement. It is playing, repair, violins, seen most clearly in the treatment of early some of especially those of the Cremona school, which have been in constant playing condition be for over three centuries. Three axioms should in mind: kept

Conservation Journal October1997 Conservation Journal October1997 11 The above are the two categories of functioning of two categories are the The above instruments - currency restitution. It is clear and that the instrument, either returned to some in daily use, can or continuing earlier condition the same meaningful about say nothing to the Minute adjustments instrumentnew. when set-up of an instrument have profound so action and tone quality, consequences to the maintenance, and restoration on-going repair, a concomitant effect. Any over centuries will have set-up and acoustic spectrumtrace of the original obliterated. The must have been totally that listening to the contention, therefore, original instrument provides any information about its past performance not tenable. is simply preservation, encompasses The third category, museum conservation of musical instruments. Application of conservation standards implies bringing the instrument silence because, firstly, into working condition requires intervention and secondly use of the instrument incurs a falsified of interpretation. The dilemma of any caretaker historic musical instruments is in reconciling these views with the prevalent and quite justifiable desire to bring the instruments out of What their dusty display cases and let them sing. must be found within conservation is a workable contextualism: a re-establishment of the boundaries between the three kinds of activity outlined here. The status of a particular musical instrument must be based upon its unique value as a carrier of aesthetic and technical information, and how best that information is violin expressed and exploited. In the case of the illustrated above, the decision is comparatively instruments These working have had so easy. of much done to them, over such a long period time, that they are virtually copies of themselves, rôle and they should continue in the traditional that has been assigned to them. future rôle of museum conservators of A key musical instruments to show to the will be museum- and concert-going public that there can, indeed, be a real working space where all aspects of the musical instrument - aesthetic, historical, social and technical - are weighed and evaluated in their context before action is taken. Notes 1. The blocks are reinforcements inside the body of the violin, placed between the sides and the top and bottom plates. There is one at the top of the instrument where the neck is attached, one at the bottom where the tailpin is set in, and four at the sides above and below each bout (or inward curve). And the result is a highly selected and refined selected and a highly result is And the of violins by in the case sample; “improved” to the of restorers and connoisseurs generations blurred distinctions become point where or lost. to respond of Cremona, happening The violins could makers to changes their magnificently gained prominence. The never have anticipated, mechanical and acoustic result is that the entire character is utterly transformed, to the extent as a new instrument.that it can be regarded hand, attempts to Restitution, on the other return instrument the to a previously understood articulatedcondition. An argument in the field of by being returnedrestoration is that only to a can an historic musical previous functional state instrument justify If it is its continuing existence. as a it can no longer be regarded silent by policy, musical instrument. An untreated and dilapidated musical instrument has lost all point to its existence. Thus, if enough information exists concerning the early history of an instrument, it is possible to return it to a previous state in order to learn from it. By measurement, by comparison it and by the study of relevant historical sources is possible to establish a definitive state. The term restitution is used to describe this activity of reinstating a previous condition The because the word restore is problematic. Oxford English Dictionary defines restore as “To bring back to the original state; to improve, or retouch (a thing) so as to bring it back repair, to its original condition.” Even in the mid- Ruskin had referred to nineteenth century, it is, restoration as a lie, and we know now that in the in fact, physically impossible. However, nineteenth century ‘to restore’ contained much of more of the flavour of maintaining currency, was ever an in good condition. If there keeping intention to return an object to an imagined previous condition, it was overlaid by a very confident and long standing craftsmanly aesthetic. The effectiveness of restoration to an assumed previous condition is based upon two interlocking assumptions: that all the necessary information to effect the transformation and that the exists, resulting transformation indeed, restore the will, lost character of the instrument. Modern historical thinking, and experience with past restoration attempts, shows that neither of these assumptions is tenable. The restored instrument becomes a modern of the original in its facsimile essential mechanical and acoustic features. For example, loan couriers could use it to could loan couriers example, For with the museum-based communicate conservation teams. of media that the InternetThe types will be able has time. Work will also improve in to manage a Virtual on for some time on been going Reality Language (VRML) which can describe Markup (3D) spaces. and browse three dimensional When bandwidth permits, the manipulation of of objects, perhaps created complex 3D models may become possible. using 3D laser scanners, InternetWhen collaborative and technologies the conservationdevelop in the future, of an by remote conservatorsobject could be debated and conservationusing video conferencing, 3D rendered models techniques ‘tested’ on before physical treatment. the Internet has great potential for In summary, the conservation profession. It allows collaboration and simple dissemination of information between geographically separated but individuals and teams. There are a limited, expanding, number of information providers. As future technologies develop more imaginative Internet uses for conservation will emerge. (http://cu-seeme.cornell.edu/). They can be browsed as WWW documents or a browsed as WWW They can be single query perform can exhaustive search an requirement for archives. There is no over all the to be of the held in the system the databases as long as they supportsame type, query the standard Z39.50 (http://renki.helsinki.fi/z3950/z3950pr.html). held by museums can be Therefore, vast archives re-engineering. It is put on-line without major AQUARELLE, a system like technically feasible, in that all the conservation information from systems could be made collections management available. Serious use of the Internet is often centred on projects. As a around groups collaborating conferencing can be classic example, video achieved over the Internet using products like CU-SeeMe™ CU-SeeMe™ is a public domain software package in for Macintoshs (Macs) and PCs. Each machine the conference has CU-SeeMe™, a microphone, send and a cheap (less than £100) camera, which of pictures, audio and data to windows on each the other participant’s machines. The system also has a whiteboard where participants can work together on documents. Collaborative work offers great potential for conservation. 14

Conservation Journal October1997 Conservation Journal Conservation Journal

File Transfer Protocol (FTP) and Gopher enable 2. CHIN (http://www.chin.gc.ca/) you to move files safely from another Internet Conservation on the Internet: Practicalities The Canadian Heritage Information Network site to your own computer or vice versa. Both October1997 (CHIN) is a site that covers broad museum issues October1997 can have ‘point-and-click’ interfaces and organise including conservation. Part of CHIN is the and Possibilities the information hierarchically. Conservation Information Network (CIN), which Carl Taylor Wide Area Information Servers (WAIS) and allows you to perform searches within databases Systems Developer, Conservation Research TELNET allow you to search vast databases and including bibliographies, suppliers and materials. run applications on remote machines 3. CONSOLE The Internet is an expanding global network of text, but increasingly E-mail is capable of respectively, but largely these have been replaced computers, connecting millions of world-wide handling documents with sounds and images. A by the WWW’s query support language. At present the V&A Conservation Department has users and with new users and information variation on E-mailing a specific person is to use a a small Internet presence The following is a brief description of just three providers joining daily. Databases and ‘mailbase’. These are based on discussions topics (http://www.vam.ac.uk/news/dept.html). We are WWW conservation sites, CoOL, CHIN and the information services have long been accessible which have an associated list of subscribed users’ in the process of creating an Intranet (a museum- forthcoming CONSOLE. You may want to use on the Internet, but until recently they were E-mail addresses. When an E-mail is sent to the wide, but not world-wide Internet) called these sites as a starting point, or find other sites hidden behind cumbersome interfaces, often mailbase a copy is forwarded to the subscribed CONSOLE. Parts of this will eventually move to using the WWW search tools such as requiring knowledge of a complex query users. For example, there is a mailbase list for the Museum’s Internet site. Work on the Intranet AltaVista™ (Digital Equipment Corporation, language. Thus, in practice, access was restricted textile conservators using the E-mail address is proceeding in parallel with an information http://www.altavista.digital.com/). to specialists. [email protected]. Instructions for audit designed to identify information sources. subscribing to this mailbase can be found at 1. CoOL (http://palimpsest.stanford.edu/) As an example, the abstracts for the Science With the growth of the World Wide Web (WWW) http://palimpsest.stanford.edu/byform/mailing- Group’s reports have been made available on the the situation is rapidly changing. The WWW The Conservation On-Line (CoOL) site, at lists/texcons/. V&A Intranet. provides a ‘point and click’ interface to Stanford University Libraries, describes itself as “a documents containing a mixture of text, images, Another tool similar to E-mail is USENET news. full text library of conservation information ... of Connecting to the Internet will depend on your sounds and videos; with ‘hyperlinks’ linking Here messages are ‘posted’ to newsgroups, such interest to those involved with the conservation local circumstances. One route is through a related topics. as bit.listserv.museum-l, where they are held for of library, archives and museum materials”. It dedicated Internet connection, such as through a limited time. These postings are not forwarded provides resources for reading papers on subjects the UK’s Joint Academic NETwork (JANET). To use the WWW you need a browser such as to users, rather the user must access the ranging from Digital Imaging to Pest Alternatively, more limited access can be achieved Netscape™ (Netscape Communications newsgroup and read the messages, like a Management, for finding contact details of by subscribing to an Internet Service Provider Corporation) that can be downloaded (see traditional noticeboard. conservators and for finding information about (ISP), usually through a modem using the normal http://home.netscape.com/) and an Internet conservation organisations and mailbases. telephone lines. ISP’s provide access to a connection (more later). A browser retrieves and selection of tools, such as E-mail and WWW, displays documents from the WWW and and may even provide space for you to highlights any links (usually referred to as publish WWW documents. hyperlinks) to other useful information sources. When you click on a hyperlink the browser The biggest problem with the Internet as a retrieves and displays the document at the end day-to-day tool for conservation is lack of of the link. These hyperlinks may be to bandwidth. Bandwidth equates to the documents on the same site, or a site elsewhere amount of information that a network can in the world. Hence, the term world wide web. carry. Although bandwidths are often large The WWW is also capable of sending queries to they have to be shared by all the people traditional database systems and displaying the trying to access information. Coupling this results. with the demands for bandwidth-greedy media, such as video, causes bottlenecks, The WWW is so synonymous with the Internet, making the Internet appear slow. More that people miss the fact that the Internet has powerful networks and techniques such as many more tools to offer. These are summarised compression, are being developed to tackle below; however for a more detailed account see this problem. http://www.eff.org/papers/eegtti/eegttitop.html. It is worth noting that it is possible to use these The avenues for future conservation tools from within some WWW browsers. Internet use are wide and varied. There are moves in the heritage field, most notably You can send messages to other Internet users AQUARELLE (http://aqua.inria.fr/), to create provided they have an electronic mail address vast archives of information online. These (E-mail); mine is [email protected]. E-mail archives are held locally by information tends to be delivered quickly and is excellent for providers and can contain complex disseminating information to geographically multimedia data, as well as databases. distant recipients. These messages are usually

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