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ConservationJournal

The Quarterly Publication ofthe Victoria & Albert Museum

Conservation Department

July1999 No 32ISSN 0967-2273

Jonathan Ashley-Smith EditorialSimon Hogg Conservation Course: Changes Over Time

Metaxia Ventikou Old Treatment, New Problem: Bakelite as a Consolidant

Timothy Hayes An Improved Storage System for the Clock Collection

Angela Geary Three Dimensional Digital VisualisationShayne Lang Not So New Methods of Cleaning

Elizabeth-Anne Haldane So that’s why Textile Conservation has such a Big Studio!

May Cassar Energy Efficient Pollution Control in Museums and Galleries

Science and Information Section Science SurgeryConservation Department Staff Chart

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Editorial – A Taste for the New?Jonathan Ashley-SmithHead of Conservation

The Victoria and Albert Museumrecently celebrated the one hundredthbirthday of its name. The future bringsnot only a new year but a newmillennium. Birthday and new yearcelebrations are times for newresolutions and new opportunities aswell as nostalgia for things past.

The Museum’s new year resolution isto place contemporary design in theforeground of its activities. Thepresent will be the gateway to thepast, not the other way round. Thephysical affirmation of this resolutionwill be the Spiral building, designed byDaniel Libeskind. While it will itself bea statement of contemporary design, itwill also create a new way of enteringand understanding the Museum. It willbe an arena for displays and eventsthat demonstrate the V&A’sinvolvement in what is not merelycontemporary, but challenging, fastchanging and cutting edge.

That description does not immediatelymatch a common vision ofconservation. Conservation is slow.Conservation is about things that areold and failing. It is about putting astop to processes. Indeed,conservation has a reputation forputting a stop to anything. It could beseen as an attempt to prevent anythingmoving into the future. It should beseen as an attempt to enable the pastto be seen in the future.

In reality, progress in conservation isjust the same as it is in art and design.It develops slowly by building on pastsuccesses. Only very rarely does it takeradical leaps. It returns to old failuresand tries to revive them in a modern

context. It takes advantage of the latestmaterials and technology. It has fashions. Some practitionersachieve fame within their peer group,very few outside it. The majority don’teven get their fifteen minutes. Sofollowing this comparison, there mustbe something that could be called‘contemporary conservation’.

Because of its size and long history,because of the challenges of theMuseum’s varied collections, andespecially because of its integrationinto an energetic post-graduatetraining and research environment, theConservation Department at the V&Astands a chance of demonstratingsome elements of contemporaryactivity. There is evidence of this inthis issue of the Journal.

As with art, it is difficult to decidewhether something is hot or just warmenough to be still alive. Is it modern tomention Richard Wolbers’ work orfaintly historic? With some events suchas the opening of a new store, thenewness is totally local and outsideobservers may wonder what took usso long.

Some activities speak more obviouslyof the contemporary. One of thestrong research and developmentthemes that is emerging is the use ofcomputer imaging in conservation.Originating with Alan Cummings’enthusiasm for the subject, this themehas generated an active group ofstudents, large enough to supporteach others development and toencourage the use of these techniqueselsewhere in the Department.

Some other areas may not look new asimmediately and obviously as 3Dimaging. The fashion for energy savinghas passed its hype-by date. But theproblems of economy in museums areseverely up-to-date. The collaborativeproject to find energy efficient ways ofcontrolling dirt and pollutants ingalleries is bringing new evidence andmay break down old prejudices.

The discovery of old conservationtechniques may at first sight seem tolead only to another chapter in thehistory of the profession – a past fromwhich we have progressed. However,the discovery of Bakelite as atreatment for stone indicates thatthere has always been a willingness toinvestigate the very latest materials.This feeds into the current debateabout reversibility and re-treatment,the subject of a conference at theBritish Museum later this year and nodoubt a point of discussion in nextyear’s fashionable debate. Just becausemistakes were made in the past doesnot mean it is more saintly to standback and do nothing.

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Conservation Journal July 1999

Editorial Board

Jonathan Ashley-SmithHead of Conservation Department

Helen Jones, Course TutorRCA/V&A Joint Course in Conservation

Paula Mills, Conservation ScientistConservation Department

Mike Wheeler, Senior Paper ConservatorConservation Department

Sophy Wills, Metalwork ConservatorConservation Department

Managing and Production EditorVictoria Button, Senior Paper ConservatorConservation Department

Designed by V&A Print Unit

Photographs are credited individually

© Victoria & Albert Museum. ISSN 0967-2273

All enquires to:Conservation DepartmentVictoria and Albert MuseumLondon SW7 2RL, UKTelephone: +44 (0)171-938 8624Fax: +44 (0)171-938 8661Email: [email protected]

The cover shows mechanism examination and testingof stand for clock storePhotography by Timothy Hayes

ContentsV&A Conservation Journal No 32

3 Editorial – A Taste for the New?Jonathan Ashley-Smith, Head of Conservation

4 The RCA/VA Conservation Course: Changes Over TimeSimon Hogg, Research Assistant, RCA/VA Joint Course in Conservation

5 Old Treatment, New Problem: Bakelite as a ConsolidantMetaxia Ventikou, RCA/VA Joint Course in Conservation, MA Student,Sculpture

8 An Improved Storage System for the Clock CollectionTimothy Hayes, Senior Furniture Conservator, Furniture Conservation

12 Three Dimensional Digital Visualisation: Research in ProgressAngela Geary, RCA/VA Joint Course in Conservation, Research Student

15 Not So New Methods of CleaningShayne Lang, Senior Furniture Conservator, Furniture Conservation

17 So that’s why Textile Conservation has such a Big Studio!Elizabeth-Anne Haldane, RCA/VA Joint Course in Conservation, MAStudent, Textile Conservation

21 Energy Efficient Pollution Control in Museums and GalleriesMay Cassar, Project Leader, Museums and Galleries Commission

22 Science Surgery,Science and Information Section, Conservation Department

24 Conservation Department Staff Chart

The first reference to the use ofBakelite as a consolidant dates from1925 when it is suggested for thehardening of fragile fossil bones5. Theprocess is briefly described thus:Bakelite Varnish was thinned withBakelite Thinner, a flammable andvolatile substance, supplied by BakeliteLtd, about which no furtherinformation is given. This was brushedonto the bones or they were immersedin it. Residues were washed away withthe thinner or with a mixture ofalcohol and amyl acetate. After drainingfor several hours, the bones werebaked in an oven for about 15 hours at220o F. The solvent evaporated and theBakelite was polymerised to a “hard,durable and practically indestructiblesubstance”6. Apparently, the BakeliteVarnish consisted of phenol-formaldehyde oligomers, which werepolymerised upon exposure to hightemperatures.

After 1930, the Field Museum ofNatural History in Chicago and theNatural History Museum in Londonadopted the technique with only slightvariations. Bakelite replaced the naturaland semi-synthetic resins previouslyused. Compared to natural resins suchas paraffin wax, glue, gum arabic,

Royal College of Art Victoria & Albert Museum Joint Course Conservation

Bakelite is a trade name of the phenol-formaldehyde resin, which is one ofthe earliest synthetic polymers. It wasmanufactured in the first decade of the20th century and found variousapplications. In the 1920s, it began tobe applied as a coating forconservation purposes, on fossils andwooden objects that requiredconsolidation. Although it wassuggested in contemporarypublications as an excellent coatingresin, its recorded use was restricted tofossil bones in the Chicago FieldMuseum, in the U. S. A. and in theNatural History Museum in London,UK. Bakelite applications inconservation were discontinued in the1940s because of certain disadvantagesthat soon became apparent. The lack ofrecords and relevant informationprecludes any assumption on theextent of its use and in whichinstitutions.

Its discovery is attributed to theGerman chemist A. Von Bayer whoproduced the resinous substance outof acid, formaldehyde and phenol in18781. However, Bakelite was notmanufactured until 1909, when LeoHendrick Baekeland established theBakelite Company in the United Stateswith branches in Europe. Bakelite wasalso produced from 1915 by theLondon-based Damard LacquerCompany and in 1926 the twocompanies merged to form BakeliteLimited2.

The resin offered many advantages thatcurrent raw materials could not alwaysprovide. For instance, the rapidly-evolving technological evolution ofthose times required strong anddurable materials for specific

applications, like the insulation ofelectrical cables, and Bakelite wasoffered as the solution as opposed tothe current natural or semi-syntheticsubstances. Furthermore, its propertiesallowed it to be moulded in order toproduce long-lasting objects at lowcost, from ornaments and handles toradiophones and furniture, renderingBakelite a radical medium3.

The formaldehyde family of resins arehighly cross-linked polymers formed bycondensation reactions. The process ofpolymerisation takes place in twostages. First, water-soluble oligomers offormaldehyde and phenol are createdby a condensation reaction (Figure 1).The oligomers that result can bedirectly used for casting or as a varnish.At the second stage the oligomers arecross-linked by acid catalysts or heat,forming the longer polymer and a largeamount of water is produced. Thepolymers can also be used as a varnishif applied as a coating, thin enough forwater produced in the reaction to bereleased4. Bakelite varnish is a brittlematerial, described as a completelyirreversible thermosetting resin. It isyellow to dark brown, unevenlytransparent, light-sensitive and itdarkens over time.

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The RCA/V&A Conservation Course has seen anumber of important changes over recent years.Whilst remaining at the forefront of conservationteaching, it has expanded in the number ofstudents and the diversity of subjects. One of theimportant aims is to increase the research outputof the course and this year we expect to see theaward of the first PhD.

The course numbers are presently split equallybetween research students (MPhil and PhD) andtaught students (MA). As part of the taughtprogramme, all MA students are required topursue a research project in their final year, andwhilst these are chosen in consultation with theirtutors and course staff, they are selected by thestudents. Here, a tremendous amount ofinnovation is displayed, with subjects as varied as‘analysing the dynamics of mannequin display’ to‘applying microscopic examination of cross-sections to leather dressings’. Some of thisresearch is to be found within this Journal fromtime to time.

The importance of research as part of apostgraduate course in conservation isincreasingly clear. Practising conservators must beable to critically appraise the informationavailable and use it to make informed decisions.While conservators may not have the time orresources to investigate for themselves, theyshould be able to examine research presented byothers, to assess the validity of that research andwhether they agree with the conclusions. Theconverse is also true. The conservator engaged inresearch should be able to present their work toother conservators, and be confident indefending their research (as they would their‘practical’ conservation methods). As part of thisprocess, we encourage all our students to publishtheir research in appropriate journals, and topresent their work at conferences. Without thiscommunication, research can remain lockedaway, either in institutions, studios, or peoples’memories.

Of course, even if published, other conservatorsmay not read the research. Studies inConservation and The Conservator are widelyread, but how many conservators have readyaccess to scientific journals, such as the Journalof Materials Science? For this reason, weencourage our students to pursue interactionsoutside the studio to increase their exposure todifferent institutions and facilities. Some of thecurrent collaborations are on the methods ofstone cleaning, the processes of patination andthe computer-assisted reconstruction offragmented objects. We also encourageinteractions in reverse, and this year we ran, forthe first time, a course for students from theDepartment of Chemistry at Imperial College, sothat in addition to their chemistry studies, theycould gain experience of Conservation. Thesestudents will progress next year to complete anextended research project which will contributeto their own development in chemistry and alsoto the needs of conservators.

For further information regarding the RCA/V&AJoint Conservation Course, please contact:

Sarah DodmanDepartment of HumanitiesRoyal College of ArtKensington GoreLondon SW7 2EUemail: [email protected]

The RCA/V&A Conservation Course:Changes Over TimeSimon HoggResearch Assistant, RCA/V&A Joint Course in Conservation

Old Treatment, New Problem: Bakelite as aConsolidantMetaxia VentikouRCA/V&A Joint Course in Conservation, MA student, Sculpture Conservation

Figure 1. First stage in the polymerisation of phenol formaldehyde (C. V. Horie, Materials for Conservation,Butterworths1987, pg. 176)

Royal College of Art Victoria & Albert Museum Joint Course ConservationRoyal College of Art Victoria & Albert Museum Joint Course Conservation

on stone objects, or to any knowncoatings (Figure 2). Its presence onsome areas of loss confirmed that itwas not an original layer but wasapplied much later, apparently forpreservation purposes since the stoneis heavily deteriorated. However, thedark brown layer proved inadequatefor securing the loose pieces in place.Attempts to dissolve the layer withvarious solvents, such as white spirit,ethanol, acetone, iso-propanol,

toluene, xylene and mixture ofammonia and water, completely failed.

A sample was taken for identificationby Fourier Transform Infra Red(FTIR)spectroscopy in the ScienceGroup of the V&A. The spectrumcorresponded to the Bakelite referencespectrum (Figure 3). The dark browncoating was, beyond doubt, Bakelite.This raised more questions regardingthe application date and the usage ofBakelite Varnish in the V&A. Was thecapital an isolated case, perhaps anexperiment, or was Bakelite treatmentcommon in the Museum?

The capital was acquired in 1916 andbelongs to a large group ofarchitectural details donated in thesame year by the ArchitecturalAssociation. Although Bakelite wasbeing produced since 1909, itsapplication as a varnish before 1916does not seem probable. A 1919 V&Apublication of Recent Acquisitionsdescribes the donation of thecollection in 1916 and mentions that‘some considerable time had beenspent in cleaning the objects and“treating them for decay”9. Recentexamination of the collection revealedthat the most fragile pieces were

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mastics and Shellac, Bakelite wasbelieved to have better properties suchas its indestructibility after curing. Itwas reported to penetrate bone fourtimes more deeply than Shellac, it wasmore elastic and left the treatedspecimens hard and tough7. By theearly 1940s, Bakelite’s disadvantageswere apparent; it was a brittle,irreversible material, which darkenedthe objects. New resins, such as vinylacetate, became more suitable forconsolidation purposes since theycould be easily removed by a solventand did not alter the appearance of theobjects8.

The use of Bakelite as a consolidantseems to have been restricted to fossilbones and, to a lesser extent, towooden objects, from the 1920s to the1940s. Although it is possible thatBakelite may have been tested, or evenapplied, on other types of objects, norecords have been found. Itsidentification on an architecturalfragment in the V&A collection wasunexpected and sheds some light onits use as a consolidant.

The 13th century limestone anglecapital (A76-1916) was covered with anunidentified, uniform, dark brown layerthat did not resemble any of thedeterioration layers commonly found

Figure 2. Angle capital, English, limestone, 13th century. (V&A A76-1916)

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Figure 3. FTIR spectra of a. Bakelite standard, b. Bakelite coating on A88-1916 and c. Bakelite coating on A76-1916.covered by a similar dark brown layerthat could be presumed to be Bakelite;objects of marble or other polishablestones had not undergoneconsolidation treatment. A coatingfrom a 13th century architecturalmoulding (A88-1916) (Figure 4) wasanalysed by FTIR spectroscopy. Thespectrum exactly corresponded withboth the Bakelite reference and theangle capital spectra (Fig. 3 spectrumB). Although more coating samplesmust be analysed, it can be supposedwith certainty that Bakelite was usedfor the consolidation of objects fromthis collection.

If the “treatment for decay” mentionedin the 1919 record refers toconsolidation with Bakelite, thispredates the earliest recorded suchusage by at least six years. However,the V&A collection could have beentreated with Bakelite at a later date,perhaps during the 1930’s when thiswas common practice. A secondprogramme of treatment within arelatively short time seems unlikely tohave been carried out, but even if thisis the case, the V&A architecturalcollection is still significant as a newexample of stone consolidation withphenol formaldehyde resin.

The detection of Bakelite on stoneobjects reveals a previously unknownapplication of this resin. For over twodecades Bakelite was regarded as anexcellent conservation material and itsidentification on stone objects in theVictoria and Albert Museum showsthat it could have been used as aconsolidant in other types of objects aswell. Conservators frequently comeacross old conservation materials andBakelite must be considered as suchfrom now on. Further study isnecessary to determine the extent andimplications of Bakelite’s past use. It ishoped that this brief overview willserve as a useful introduction to theuse of Bakelite as a stone consolidant.

AcknowledgementsI would like to thank Ms CharlotteHubbard for all the guidance and thetranslation of the German article, MrWilliam Lindsay for the usefulinformation, Dr Brenda Keneghan andMs Silvia Valussi for the identificationof Bakelite, Dr Paul Williamson and MsPeta Motture for allowing me access tothe Architectural Collection, and MrPedro Gaspar for his comments.

References1. Müller-Straten, C., Die Anfänge desKunststoffs: 1839-1925, Restauro 1,1988, pp30-37.

2. Reboul, P., Britain and the BakeliteRevolution in Mossman, S. T. I., andMorris, P. J. T., (eds.) The Developmentof Plastics, The Science Museum,London, pp26-37.

3. Meikle, J. L., Materia Nova: Plasticsand Design in the U.S., 1925-1935 inMossman, S. T. I., and Morris, P. J. T.,(eds.) The Development of Plastics,The Science Museum, London, pp38-53.

4. Horie, C. V., Materials forConservation, Butterworths, London,1987, pp175-177.

5. Case, E. C., The Use of Bakelite inthe Preservation of Fossil Material,Science 61, n. 1586, 1925, pp543-544and Nichols, H. W. and Orr, P. C.,Bakelite Impregnation of Fossil Bones,The Museum Journal 32, 1932, pp47-53.

6. Nichols, H. W. and Orr, P. C. op.cit.

7. Case, E. C. op.cit. and Nichols, H. W.and Orr, P. C. op.cit.

8. Howie, F. M. P., Conserving andMounting Fossils: A Historical Review,Curator 29, 1986, pp5-24.

9. Victoria and Albert Museum, Reviewof the Principal Acquisitions Duringthe Year 1916, London, 1919, pp. 1-2.

Figure 4. Architecture moulding with tooth ornament, English, limestone, 13th century. (V&A A88-1916)

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Comparative review of storage systemsThe principle objective was to create a facilitythat would improve the general standard of long-term storage and provide greater access to thecollection; a designated store that wouldmaximise the space available, withoutcompromising the accessibility and safety of theobjects.2

The Conservation Department does not contain aspecialist section for the specific treatment ofclocks. Therefore, the initial stages of research toinvestigate appropriate storage systems wasbased on communication with externalhorological sources. A comparative assessment ofstorage facilities held within other institutions,3

revealed distinct differences in store form andfunction. In general, the storage systemsconformed to three models:

• Standard Storeroom This form of store conformed to thestandard museum model, providing a securestorage enclosure that offered a flexiblerange of environmental parameters for thelong-term preservation of mixed materialobjects. The individual storage requirementsfor specific clock components were alsofeatured.

• Study Collection StoreThis store functioned as a horological studyroom, which enabled greater public accessto the objects under the supervision ofspecialist staff. The store displayed objectsusing a combination of open and closedstorage systems, with sections of thecollection maintained in an operationalcondition.

• Work Room StoreThis form of store provided a secureenclosure for the short-term storage ofclocks, before and after their restoration toan operational condition. The storeincorporated a designated area for testingthe restored longcase clock mechanisms,supported on special stands that allowedopen access to the mechanism, pendulumand weights.

The review of storage facilities provided the basisfor an outline specification that includedelements of each of these three storage models.

Blythe House clock store The storage system had to be installed in theavailable space within the constraints of theproject (floor loading, accessibility, programme,budget), and to meet the Furniture andWoodwork Department’s criteria for storage ofcollection type, chronologically within each typeof category, and by nationality – British orContinental.4 A single storage area wasconsidered the most appropriate solution, whichcomplied with both the general constraints of theproject and specific object requirements. A roomwas located at Blythe House, within the mainfurniture store (S11), offering substantial floor(61m2) and wall space, with entry via a largedouble door. Located in the south-west corner ofthe building, the room had formerly served as ahoist room allowing access for outside deliveriesto the second floor. Windows were arrangedalong the southern section of wall with the hoistentrance located at the west wall; water pipesserving radiators also ran along the two externalwalls. Initial concerns regarding theenvironmental limitations of the room, in termsof extreme and fluctuating levels of relativehumidity and temperature, were partly allayedfollowing a climatic assessment of one monthduration that reported mean value parameters of56% RH and 15°C. 5 A programme ofmodifications to the room, consistent with therefurbishment of the main furniture andwoodwork stores, included the fitting ofinsulated blanking panels6 to the interior facingsof the windows and to the hoist door. It is theintention to maintain a lower temperature andimprove the air circulation in the store to inhibitthe metal components reactivity to anypotentially corrosive pollutants.

Storage requirements and installationmethodologyThe decision to store the objects within thecontext of a study collection, influenced theplanning and design process of the storagefacilities and layout. The objects needed to beaccessible to visual inspection of both the clockmechanism and decorative casework. A standardmethodology for object storage was researchedfor each of the principle groups of clock. Firstly,the collection was quantified in terms of clocktype, with distinct forms of clock grouped intoseparate storage categories. Each category wasthen individually assessed to determine the mostappropriate method of storage.The assessmentcriteria considered several factors:


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An important stage of the Heritage Lottery-funded refurbishment of the British Galleries hasrecently been completed, with the successful de-installation of the fifteen galleries and eightstorage areas that formerly housed the Museum’scollection of British Art and Design. A processthat engaged the collaborative resources of theentire Museum, during the redistribution ofobjects from 10% of the Museum’s gallery space.

The logistical implications of the storage projecthad initiated a search for alternative gallery andstorage locations, which culminated in theimplementation of a high density storage systemfor the furniture and woodwork collections,accommodated at the museum’s principle storeBlythe House.1 This article describes a singlecomponent of the storage system, that wasspecifically designed to accommodate thedisplaced collection of clocks. Proposals for thenew gallery scheme offered few opportunities forthe display of horological objects, a position thathighlighted a demand for improved access to thestored collections.

Previous storage conditionsThe British Art and Design gallery and storagerooms had previously accommodated a diverseselection of clocks, illustrating the stylisticdevelopment of casework and clock design. Theobjects were principally interpreted as examplesof cabinet design with an emphasis on decorativecasework (e.g. floral marquetry, japanneddecoration, figured woods, etc.), rather than onhorological innovation.

The majority of clocks were spread throughout aseries of storage locations that provided aminimal level of environmental and physicalprotection. The storage conditions of thelongcase clocks offered a particularly lowstandard of horological storage, with objectsstanding directly on uneven wood-block floors,grouped in close proximity to each other andconcealed underneath polythene sheeting (seeFigure 1). Access to the collection was somewhatlimited due to the restricted storage space, and

the generally inhospitable, dusty, poorly lit andovercrowded conditions. Movement and handlingof the objects was unnecessarily time consuming,occasionally hazardous and risked damage to thedelicate clock components. Surveys undertakenduring the preliminary stages of the BritishGallery project had identified the storageconditions as being the primary cause ofstructural and chemical deterioration of both thewood and metal components.

An Improved Storage System for the ClockCollectionTimothy HayesSenior Furniture Conservator, Furniture Conservation

Figure 1. A view of one of the former storage locations (Room 58 Store)

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(b) Clock component storage Unidentified and/or damaged pendulums werestored upright in a rack, designed to support thependulum bob, secure the rod and protect thedelicate suspension spring. The numerous lead

clock weights were stored on a high, weight-bearing, shelving system.8 A sheet of high-densityfoam was applied to the shelves and theindividual weights, arranged on their sides,effectively embedded themselves into the foam.9

Strips of foam were also fitted between weightsas a precaution against abrasion, caused by directcontact between the finer brass sleeved leadweights and the roughcast lead weights.

(c) Spring (Bracket) clock storageThis category of clock could be accommodatedwith comparative ease into metal storagecabinets.10 The relatively small dimensions of theobjects and their delicate mechanicalcomponents demanded a closed system ofstorage that provided a secure and dust-freeenvironment.

ConclusionThe new storeroom concentrates a substantialcollection of the Museum’s clocks in anenvironment that is accessible and conducive tothe study and appreciation of both casework andclock design. The unpacking and installationprocess, is at the time of writing this article still inprogress, with further developments of suitableclock component storage being investigated.

AcknowledgementsI would like to thank the following individuals forallowing access to their stored collections:Jonathan Betts (The Old Royal Observatory),Jeremy Evans (The British Museum), HelenKingsley (The Science Museum), Roger Still (WestDean College). Consultation with horologicalexperts from outside the Museum was a keyfactor during the development, planning andinstallation stages of the project. During theinstallation process Christopher Powell, a thirdyear student from West Dean College, undertooka short internship that studied the condition ofthe clock mechanisms, carried out remedialcorrections and advised on installationprocedures.

References1. The merits of the high density storage system

have been reported in other publications:Hershberg, S., King, S., and Ward, A., Makingthe most of storage space, Museum Practice,No.10 (vol.4 No.1) 1999.

2. Hershenberg, S., A Standard for Storage, V&ADiscussion Document, 1998.

3. The Old Royal Observatory, the BritishMuseum, the Science Museum, West DeanCollege.

4. Hershenberg, S., King, S., and Ward, A., ibid

5. Mills, P., Climate Report on the Hoist Room ofBlythe House, Science Group Report,No.97/73/PJM

6. Celotex LG2 Insulation Board on softwoodframing and sealed with neutral-curingsilicone.

7. The longcase clock storage units wereconstructed from birch veneer plywood andcoated with a water-based matt emulsionpaint.

8. Strongspan Shelving, Planned Storage SystemsLtd.

9. Plastazote Foam, Polyformes Ltd.

10. Storage Cabinets (Clearview Range) Storage byDesign Ltd.


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• Structural Condition of Object

• Individual Installation Requirements

• Storage of Clock Parts

• Accessibility

• Physical Protection

• Security

(a) Longcase Clock StorageThis category of clock formed a significant part ofthe collection and required the largest volume ofstorage accommodation. A standard longcaseclock is composed of several detachablecomponents:

• The wooden casework comprises a maincase (trunk) and a mechanism cover(hood).

• The metal clock comprises a mechanism(movement), a pendulum and two or threelead weights.

The narrow proportions and height of the casecomponents, combined with the location of themetal mechanism in the upper section ofcasework, can contribute to an unevendistribution of weight throughout the object.Consequently, longcase clocks require a flat wallsurface and level floor, to provide support and asecure point of attachment for the maincasework. Historically, long cased clocks wereplaced directly against a wall and secured witheither a nail or screw through the backboard ofthe casework. A secure and level siting was animportant factor for the effective operation of aclock mechanism.

A series of plinths with integral backboards offeredthe most practical solution to support and securethe clock casework. A system of prefabricatedstorage units was designed that could be fixeddirectly against a wall, or placed back-to-back inorder to utilise the central floor space.7 Theobjects could be classified and arranged intodistinct groups (e.g. clocks with marquetryveneered cases), with sufficient space betweenobjects to view the clock mechanism from boththe left and right side (see Figure 2). Each clockcase was attached to the unit backboard withdome-headed screws passing through thebackboard of the casework. Most longcase clockbackboards will show evidence of previous fixingholes, which can be reused with the addition of asteel washer to displace the pressure of the screwhead. Alternative methods of attachment includedthe use of existing metal fixing plates.

The clock mechanism is normally attached to awooden board (seat board), which rests on thetop of the case sides (cheeks). The pendulum isfitted to the rear of the mechanism by itssuspension spring, passing through the crutchand slotting into the back-cock. Pendulums werestored attached to their respective clocks to actas a counter weight to the dial plate, aninsecurely mounted mechanism could tipforward and risk damage to the hood door glass.Clocks that were without their pendulum or thatwere not securely mounted to the case cheeks,were fixed into position with screws that utilisedformer nail or screw holes in the seat board. Leadweights were stored separately (see clockcomponent storage).

An examination and testing stand was included inthe store design to enable close inspection of themechanism components (see Figure 3), and toprovide a secure platform for the testing oflongcase clocks. It is planned to have a specificgroup of clocks restored to an operationalcondition for inclusion in the future BritishGalleries.

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Figure 3. Mechanism Examination & Testing Stand.

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particularly problematic. Deepundercut relief is often employed anddrapery surges and swirls in complexundulations. The scanning devicesused in the project, and indeed mostcurrently available, cannot readilycapture data from deeply recessedforms and the specific choice ofobjects was constrained to someextent by this factor. Dark colours andhighly reflective surfaces can alsoreduce the effectiveness of laser-capture images.

The project has utilised a laserscanning system called VIVID™ (VI700), and a live photogrammetriccapture device: Tricorder™S4M. Both

systems were lent to the Museum byTricorder Technology plc. The formerproduces digital models which appearas polygonal meshes. These are ofmoderate resolution3, adequate forthe purposes of multimedia display.During capture, a series of scanstaken as the object is progressivelyrotated (or translated) are needed to

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When I began my research in 1997 myaim was to explore possibleapproaches for the accurate captureof three-dimensional (3D) data frommuseum objects using existingtechnology and to define areproducible and accessiblemethodology for this procedure. Myfinal goal was to use the resulting 3Dmodels in computer simulations ofthe likely original appearance ofartefacts. While a degree ofsubjectivity is implicit, scholarlyinterpretation is paramount in thisendeavour and I anticipated drawingextensively on historical and analyticalinformation.

There are several high-profile current3D-capture studies ongoing aroundthe world, including those of theNational Research Council of Canada(NRC) in conjunction with theCanadian Conservation Institute(CCI)1 and, more recently, StanfordUniversity’s Virtual MichelangeloProject2. These have relied on veryhigh specification, costly scanningdevices and computer technology.From the outset, it has been myintention to use technology which isrealistically accessible in terms of costand availability. To that end I hopethat the groundwork laid by myproject will be useful to otherinstitutions or individuals wishing toimplement 3D capture for theircollections.

I chose Northern, late Gothic,polychrome sculptures as the focusfor my research. My interest inpainted surfaces, allied with theextreme deterioration often suffered

by these works, were significantreasons for my choice, but theextensive and well-researchedcollection available within the V&Awas also an important factor. For themost part, sacred wooden carvingsfrom the selected period are beingscanned, but I have also collecteddigitised information from somestone and terracotta pieces (Figure 1).Digitally capturing the geometry ofsculptures presents many technicalchallenges given the limitations ofcurrent technology. The dynamic andvigorous style of carving favouredfrom the early Renaissance amongstthe limewood sculptors of Germanyand Northern Europe can be

Three Dimensional Digital Visualisation:Research in ProgressAngela Geary RCA/V&A Joint Course in Conservation, Research Student

Figure 1. A model captured using VIVIDTM from Torregiano’s terracotta bust of Henry VII (Museum NoA.49-1935) textured and rendered in 3D Studio Max™ on PC running NT4™.

Figure 2. This image shows three stages of assigning a 2D colour bitmap to a model of a Flemish polychrome sculpture of St. Christopher (Museum NoA.1304-1872). First the planar mapping projection is positioned and scaled to maximise accuracy. The second image shows the texture half way throughrendering. Finally, the fully rendered model is complete. Textured and rendered in Cinema 4D XL™ on Power Macintosh™ running Mac OS 8.5.1™

build the entire model. Then themultiple surfaces are registered eithermanually or automatically using thescanner software. I found that manualselection of reference points by visualcomparison of picture images moreconsistently resulted in accuratealignment. It has become evidentduring the course of the project that

the quality of this software plays asignificant role in the success of thefinal model. With VIVID™ the captureof range data on dimension and formis limited to the parts of the objectsvisible to the laser scan. Undercutregions, overhanging features and soon are not completely recorded,resulting in black holes in the final

model. At a later stage, theoperating software can beused to correct any defectsby point editing, after whichthe final polygonal meshmodels are exported in oneof the several industrystandard formats for furtherediting, rendering andanimation in modellingapplications.

A secondary, but essential,element in creating arealistic model is the two-dimensional (2D) image ortexture map wrappedaround the 3D form (Figure2). The quality of the 2Ddigital images provided byVIVID™ are disappointing;too low in resolution andoften poorly focused due tothe lack of manual controlover the camera optics. Forthis reason, and to allow finecontrol over the finalappearance of the models,high resolution digitalimages are captured fromlarge format colourtransparencies or 35mmslides of the objects. Theseare then manipulated asrequired using applicationssuch as Photoshop™. In thisrespect my study hasbenefited from NicholasFrayling’s research into 2Dcomputer4 imaging.

In respect of visualisation,surface characteristics are ofparticular interest to me. My


All MA students on the RCA/V&A Joint Course inConservation undertake a ten-week researchproject in their final year. My research projecttook the form of a literature review of two of theinnovative cleaning techniques for painted anddecorated surfaces introduced by RichardWolbers in the mid 1980s. The dissertationevaluates the literature published in response toRichard Wolbers’ introduction of resin and bilesoaps and Carbopol™ solvent gels in order toassess how claims made for these materialscompared with experimental results reported inthe conservation literature.1

Many of the concerns raised about Wolbers’cleaning methods have focused on their potentialor actual impact on oil paint surfaces. Althoughhis methods can be applied to a wider range ofmaterials, my dissertation took this substrate asits starting point, outlining the drying anddegradation of linseed oil paint films. Traditionalmethods of cleaning using solvents and alkalinereagents and their effect on an oil paint layerwere discussed in order to provide a context forthe development of Wolbers’ methods andmaterials. The theoretical basis of two of Wolbers’innovations – resin and bile soap gels andCarbopol solvent gels were considered, followedby a review of studies which examine aspects ofthe activity or clearance of these materials. Theliterature review summarised significant findingsand evaluated experimental methodology inorder to compare results which were sometimescontradictory and thus find a way through themaze of claims and counter-claims surroundingthe methods and materials Wolbers introduced.

Wolbers introduced both new techniques for usewith traditional materials, such as solvent gels,and adopted an aqueous approach for solvatinglayers which had proven resistant to solvents oralkaline reagents, or when the use of suchtraditional cleaning materials represented asignificant risk to the paint layers underneath.These methods were intended to allow a morecontrolled cleaning process and to facilitate theselective removal of unwanted layers from the

underlying decorative surface. Wolbers set outthe theoretical basis and discussed the use ofthese materials in a booklet2, which originallyaccompanied a two-week programme of lecturesand practical workshops in 1988. These ‘Notes’,reissued in 1989 and 1990, have been the primarywritten source of information for conservatorsseeking to understand or test Wolbers’ methods.The ‘Notes’ were divided into sections on casehistories, fluorescence microscopy, surfacecoatings and cleaning materials. Nine casehistories of complex cleaning problems set outhow and why Wolbers used his ‘new methods’ tosolve practical problems which would have beeninsuperable using traditional cleaning methods.The results were inherently empirical and offeredno experimental confirmation of the mechanismor effects of such cleaning treatments.

Concern about Wolbers’ cleaning methods hasfocused around three primary issues – thepossible deposition of residues of non-volatilecomponents from cleaning formulations, thecomplexity of aqueous cleaning formulations andthe role of individual components, and thepossibility that fatty acid compounds may beleached out of oil paint films. Research over thelast ten years has shed some light on these issuesand has allowed for the original claims made forresin and bile soaps to be evaluated.

The literature review highlighted problems insome of the research which has been undertakento evaluate Wolbers’ methods. The complexity ofthe theoretical foundation of these methods hasnot been fully grasped by some researchers andthis has produced contradictory conclusions.Other researchers have limited the application oftheir findings by using non-standard formulationswith the result that their experimental datacannot be used to inform conservation practice.Some papers were characterised by a lack ofrigour – researchers drew broad and occasionallyspecious conclusions from narrow experimentaldata.


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Not So New Methods of Cleaning

Shayne LangSenior Furniture Conservator, Furniture Conservation

research engages with all aspects ofthe paint, gilding and otherdecorative layers. Determination oforiginal appearance relies to aconsiderable extent on scientificanalysis, documentary and historicalevidence. Valuable colour referencingdata can also be extracted fromcleaning tests and samples. Given thefunctional nature of these symbolicsculptures, it was not unusual fortheir surfaces to be subject to manychanges in the course of time.Successive layers of repainting mayhave been applied, and during theReformation partial or completedestruction may have been the finalfate of the original polychromy.Normal ageing, as well as theattentions of earlier restorers, alsocontribute to surface change. Digitalimaging is extremely well suited as atool for exploring and reconstructingchanging appearance, drawingtogether all the available visual andtechnical information.

Once a model is captured, refinedand exported, it can be adapted to awide range of visualisationapplications, both educational andprofessional. In conservation thereare many advantages in using highresolution 3D models as a form ofdocumentation. It can be far moreinformative and flexible thanconventional photography or 2Dimaging. The models can be rotatedand viewed from any angle,dimensional change can be recordedand analysed to a high degree ofaccuracy and volumetric data can beextracted. The process ofconservation treatment can be aidedby allowing the possible outcome ofproposed conservation strategies tobe viewed virtually and evaluatedprior to implementation. Treatmentswhich are not normally feasible inreality because of their invasivenature can also be explored. Virtualrepresentations of objects maypresent an alternative, in some cases,to restoration. To this end multimedia

consoles can be displayed alongsideconserved, but unrestored objects,serving to illustrate the visualoutcome of restoration and enhancethe viewer’s understanding of thepiece. Objects can also be placed ininteractive virtual environmentswhich reproduce their originalsetting, such as churches orcathedrals. This simulation canincorporate factors such as changingambient light: sunlight at differenttimes of day or year and candlelight.There are also obvious implications in3D image-processing for theaccessibility of collections. Databasesof artefacts, on display or in storage,can be explored on consoles bygallery visitors and scholars, oranywhere in the world via theinternet and CD-ROM distribution. Itis also possible to produce accuratefacsimiles of objects to scale fromcaptured data. One use for this couldbe enhanced access by touch forvisually impaired visitors.

At the conclusion of my research Iplan to use immersive technologiessuch as head-mounted displays andwalk-in environments for the displayof virtual presentations produced asthe outcome of the project.

In October 1998 a third computer-imaging research student, AthanasiosVelios, joined Nicholas Frayling andmyself on the Course to study the 3Dcapture and digitally-assisted surfacealignment of fragmented objects. Thisis an exciting time to be exploringthis rapidly-evolving area, as our smallgroup gradually expands in size anddiversity.

AcknowledgementsI am grateful to Professor AlanCummings and Richard Cook fortheir continued support of myproject, both practical and moral.Many thanks also to: Michael LeFleming, Duncan Hughes andGraham Arnold of TricorderTechnology plc.

References:1 Baribeau, R, Godin, G. Cournoyer,

L. and Rioux, M. Colour Three-Dimensional Modelling ofMuseum Objects: Imaging thePast: Electronic Imaging andComputer Graphics in Museumsand Archaeology, OccasionalPaper Number 114, BritishMuseum, London, 1996.

2 http://www.graphics.stanford.firenze.it/projects/mich/

3 Approximate resolutions between0.3mm and 10mm depending onscanning distance and zoom level

4 Frayling, Nick., An exploration of the original appearance ofNicholas Hilliard’s portraitminiatures using computerimage manipluation, V&AConservation Journal 28, July1998, pp.4-6.

Angela Geary2a 162 Abbey Street London SE1 2ANphone/fax 0171 237 8694email: [email protected]


IntroductionThe Textile Conservation Sectionmoved into their new purpose-builtstudio in December 1995 (See V&AConservation Journal 20, July 1996).The studio is separated into two areas– a ‘wet’ area and a ‘dry’ area. Thisarticle focuses on the wet area, thenew equipment designed to assist inthe washing of large textiles and thefirst tapestry washed in the newstudio.

Approximately one third of the totalstudio space is designated as a wetarea. This is located at one end of thestudio and is bordered by a series ofdrains set into the non-slip tiled floorto prevent any movement of waterinto the dry area. A wash table islocated here, but for very large

objects such as tapestries, the table iswheeled out and a wash bathconstructed on the floor (Figure 1).Tapestries by their very nature arelarge and often weak especially whenwet. Specialist equipment and a largespace are required to allow suchobjects to be kept flat during washingand to minimise handling whilst wet.

Equipment & construction ofthe wash bathWhen constructing a wash bath onthe floor, plastic tubes are used toform the walls and a large piece ofstrong polythene is used to make thefloor. The size of this bath can bevaried to accommodate different sizedobjects. The bath is filled with waterusing a hosepipe connected to a de-ionised water supply. Previously, the

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Some of the confusion which is evident in theliterature has been a result of the haphazarddissemination of both basic principles andchanges to formulations and clearanceprocedures. The ‘Notes’ intended to accompanya two-week programme of lectures and practicalexperience of the methods have been theprimary source of information. These were neverformally published and as a result bootleggedphotocopies have circulated the profession asconservators have tried to come to grips withnew approaches to cleaning. Wolbers is planningto publish a book on his methods in the nearfuture, which will at least partly address thisproblem. Communicating changes as these newmethods evolve remains problematic. Althoughclear and logical guidelines for clearanceprocedures for aqueous cleaning solutions andsolvent gels were published in a conservationnewsletter in 19903, it is apparent from theliterature that this has been insufficient to ensurethey are widely known and understood.

More than ten years after the introduction ofWolbers’ cleaning methods it is still not possibleto make an informed and objective comparisonof the potential damage from a traditionalcleaning treatment and that which may occur as aresult of using Wolbers’ methods.

Wolbers has made a significant contribution toconservation. Whether individual conservatorsadopt his methods or not, he has facilitated andextended the theoretical basis for cleaning whichhas had an inevitable impact on conservationpractice. Many of the materials used by Wolbersare not new to conservation. Enzymes have beenused in paper conservation, wax pastes inpaintings conservation, gels in furnitureconservation. However, perhaps Wolbers’ mostsignificant contribution to conservation practicehas been to propose a coherent cleaning strategybased on a general chemical characterisation ofboth the substrate and overlying layers which canbe used to formulate a conservation treatment ascontrollable and selective as possible. Thisgeneral approach may prove to be as importantas the new materials introduced to solveindividual cleaning problems.

References:1. Lang, S., A Review of Literature Published in

Response to Wolbers’ resin Soaps, Bile Soapsand Solvents Gels, Final Year ResearchProject, RCA/VA Joint Course in Conservation,1998.

2. Wolbers, R., Sterman, N. and Stavroudis, C.,Notes for the Workshop on New Methods inthe Cleaning of Paintings, Getty ConservationInstitute, 1990.

3. Stavroudis, C. and Blank, S., Author’s Reply,WAAC Newsletter, No.12, 2, pp31, 1990.

So that’s why Textile Conservation has such aBig Studio! – Tapestry Washing at the V&AElizabeth-Anne HaldaneRCA/V&A Joint Course in Conservation, MA Student, Textiles

textile was rinsed either by hosing, orwalking a spray bar connected to ahose up and down the bath. This wasslow and cumbersome, so with themove to the new studio plans weremade to improve this operation. Alightweight mobile gantry with spraybars attached was specified by theV&A and constructed by BorleyBrothers, Cambridge (Figure 1). Thegantry, which is made from powdercoated aluminium, is strong enoughto support two conservators allowingaccess to the centre of the tapestryduring washing (Figure 2). Thewheels on the gantry can be lockedinto position to prevent anymovement when someone is standingon it. The two spray bars, each fittedwith fifteen nozzles, are connected tothe main de-ionised water supply

Figure 1. Textile Conservation Studio, showing floor drains, wash bath and gantry

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the sides to accommodate the walls ofthe bath.

History of the tapestryThe wet cleaning of textiles, includingtapestries, is no longer a routinetreatment at the V&A as it is anirreversible process and because theconservation profession now hasmore knowledge about the potentialdamage which may be caused bywashing. An extremely dirty tapestry,chosen as one of my projects andundertaken during the second year ofthe MA course in Conservation in1997/8, provided the first chance touse the floor of the wet area and tryout the new gantry. It was an early17th century all wool tapestry(Museum No. HH 522 1948) thoughtto have been made at Mortlake whichat the time was the centre of theEnglish tapestry industry. It measuredapproximately 3.5m in height by 2.6min width. The tapestry had been sentto the studio for cleaning prior tophotography. It is to be included in a

catalogue of English tapestriescurrently being written by WendyHefford who has recently retired fromthe V&A Textiles and DressDepartment.

The tapestry is mainly composed ofpatterning with quite a smallallegorical cartouche in the centre.Although little is currently knownabout the tapestry, it is interestingbecause it is largely intact. Theremaining tapestries in the seriesfrom which this belongs have all beenaltered, or cut down. This is the onlytapestry left in its original conditionapart from a few minor patches.

The colours on the front of thetapestry were faded in comparisonwith the reverse but they wereremarkably bright for a tapestry of thisage. However, heavy soiling occurringon both sides, which made thetapestry feel stiff and brittle, obscuredthem. There was also a largedisfiguring stain in the upper part ofthe tapestry, which may have been

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(Figure 3). The rate of flow can bevaried and each nozzle can beswitched on and off independently toaccommodate different sizes oftextiles. As the gantry is mobile, it canbe pushed up and down to distributethe water evenly over the object.

The dimensions of the studio limitedthe length of the gantry to 4.5m; thisin turn limits the size of tapestry thatcan be washed. The criticalmeasurement is the height of thetapestry as this is at right angles to thewarps. When rinsing it is preferablefor the water to flow in the warpdirection as the warps are thestrongest part of the structure. If thewater flows in the opposite directionthe pressure may break the weakerwefts causing the warps to split apart.

It is calculated that the largesttapestry, which could be washedcompletely flat on the floor, is onewith a maximum height of 3.7m. Thegantry can then pass over the tapestrywith an overall clearance of 30cm at

Figure 2. The gantry in use, sponging the tapestry

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caused by water damage. Thetapestry was generally weak includinglarge holes probably caused byrodents and some moth damage. Theheavy soiling was contributing to thegeneral acidity of the textile.Vacuuming alone did not remove thesoiling so the decision was made towash the tapestry. It was also hopedthat washing would improve thevisual appearance of the tapestry forthe forthcoming photography andimprove its flexibility allowing furtherconservation work to be carried out.

Stabilisation and testingWeak areas were supported with netand slits stitched together to stabilisethe tapestry prior to washing.Extensive tests were also carried outto ensure that the dyes were waterfast and would not bleed during thewashing process. The washingsolution that was chosen was one of anumber tested during this project.The basic solution consisted of thedetergent Synperonic N1 and sodium

carboxymethyl cellulose, whichprevents soil re-deposition. Due tothe nature of the soiling on thetapestry and the concern that the pHof the bath would drop when such asoiled object was placed in the water,triammomnium citrate was alsoadded to the solution. Triammoniumcitrate acts as a buffer, maintaining apH range of between 6.5 and 7 insolution. It also acts as a chelatingagent for metal ions and helps tobreak up particles into smaller piecesand encourages them to disperse.Washing solutions containingtriammonium citrate have beensuccessfully used at the NationalMuseums and Galleries of Merseysidefor the cleaning of textiles2. It is morecommonly used in the conservationof paintings where it has been foundto remove both organic and inorganicparticulate matter, which had proveddifficult to remove with othersolvents.3

WashingFour people were involved in theactual washing of the tapestry. It wasallowed to soak for an hour each in abath of half-strength washing solutionthen full strength solution. Followingthis the tapestry was sponged all overto agitate the dirt and rinsedrepeatedly (Figure 2). Both sides ofthe tapestry were treated in thismanner, though care had to be takento avoid any felting of the woolthrough excessive agitation. Thebaths and the sponging treatment allreleased a considerable amount ofsoiling from the tapestry.

The tapestry was thoroughly rinsedthen rolled up in white terrytowelling to soak up the excess water.The bath was then dismantled andplastic pallets covered with a layer ofmonofilament mesh were put in itsplace to make a raised platform forthe tapestry to sit on so that air couldcirculate underneath (figure 4). Thetapestry was unrolled face side uponto the pallets and left to dry.

Figure 3. Detail of the nozzles on the spray bar

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The Department of the Environment, Transportand the Regions is funding a research projectfocussed on efficient pollution control inmuseums and galleries, under the Partners inInnovation Programme. The research involves aunique partnership of heritage organisations,academia and industry; the Museums andGalleries Commission, The Bartlett UniversityCollege London, EMCEL Filters Ltd, the Victoria &Albert Museum, the Museum of London, theManchester Museum and the Horniman Museum.

What will this research deliver in practice? Theaim of the project is to compare the effectivenessof pollution control in air-conditioned andnaturally ventilated museum buildings and toinvestigate ways in which pollution can becontrolled while achieving energy savings.

The first part of the project measuresconcentrations of nitrogen dioxide, sulphurdioxide, hydrogen sulphide and particulates inand around the two museums with air-conditioned galleries: the Victoria & AlbertMuseum and the Museum of London, and thetwo naturally ventilated museums: TheManchester Museum and the Horniman Museum.The monitoring campaigns will take place in twophases, one during the winter and one in thesummer.

At this stage of the 18-month project, the wintercampaign has just been completed. Preliminaryresults show that air-conditioning with chemicalfiltration has been effective at reducingconcentrations of externally generated nitrogendioxide and sulphur dioxide. Perhaps notsurprisingly, it has also been found that one ofthe naturally ventilated buildings which is wellsealed from external conditions, was able tocontrol these pollutants well. Small rooms and acell-like building layout was found to assistpassive pollution control, by restricting theingress of external air and by increasing theavailable wall and floor area on to whichpollutants can be deposited.

Both airborne and deposited particulates havebeen measured. In store-rooms it was found thatairborne particle concentrations increased whenstaff or visitor activities took place. Generallythese concentrations fell back rapidly tobackground levels when these activities ceased.In galleries with many visitors, particleconcentrations sometimes exceeded levelsmeasured externally. These levels weremaintained throughout the day and only declinedslowly when the museum was closed.

The highest concentrations of surface-depositedparticles in the naturally ventilated buildings weremeasured externally, at entrances and in the mostvisited areas. The lowest concentrations werefound in rooms such as stores where there waslittle human activity. Particle deposition in air-conditioned galleries was lower than in the non-air-conditioned store.

These results on the winter monitoring campaignprovide a partial picture of indoor air quality inthe four participating museums. A summermonitoring campaign will follow. Alterations tothe fabric and services, in one of the air-conditioned museums and one of the naturallyventilated museums, are planned in order to testa range of measures that might improve pollutioncontrol without incurring an energy penalty. Theresearch will end in March 2000, following which,guidelines for museums, based on the findings ofthis project, will be published.

For further information contact May Cassar,Museums & Galleries Commission on telephone:0171-233-4200. You can find the Museums &Galleries Commission at www.museums.gov.uk


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Energy Efficient Pollution Control inMuseums and GalleriesMay CassarProject Leader, Museums and Galleries Commission

The tapestry was vastly improvedafter the wash; it was cleaner, lessdistorted and felt soft and flexible tothe touch. Unfortunately the stain atthe top of the tapestry was notcompletely removed and is moreobvious now that the surroundingareas are clean. However the benefitsto the overall condition of thetapestry far outweigh this visualdistraction. The tapestry is stillstructurally too fragile to be displayedand would require a full supportbefore this would be possible. Theprimary value of this object is as partof the study collection and it isunlikely that further treatment will beundertaken in the near future. Thewashing process took nearly tenhours to complete and the tapestrydried out in approximately sixteenhours. All involved were happy withthe facilities and the new equipment.

AcknowledgementsWith thanks to Val Blyth, supervisorfor this project and to Lynda Hillyerand Albertina Cogram for helpingwith the wash.

References:1. Synperonic N (nonyl phenol

ethoxylate) will be phased out forindustrial use from 2000. TheTextile Conservation Section is incontact with other institutions toreview and research alternativedetergents. See also Daniels, V.,Synperonic N and NDB, PaperConservation News, March 1999

2. Chapman V., The Conservation ofa Painted Silk Tambourine – andTriammonium Citrate, PaintedTextiles, UKIC Textile SectionForum Postprints, 21st April 1997

3. Carlyle et al, TriammoniumCitrate: An Investigation into itsApplication for Surface Cleaning,Dirt and Pictures Separated,UKIC, January 1990

Manufacturers of the gantry: Borley BrothersGeneral Engineering and Crane Hire6&9 Church Road, Teversham ,Cambridge CB1 5AW

Washing Solution:Concentrate to be mixed 1:9 withwater for full strength

Synperonic N (at 27%conc)20g/litreTriammonium citrate10g/litreSCMC0.5g/litre

Figure 4. The tapestry after washing laid on drying platform

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2322

Science Surgery [email protected] Science Surgery [email protected]

BullerswoodThe Bullerswood carpet, designed byWilliam Morris and woven by Morris &Co, Hammersmith, UK, circa 1880(Museum No. T31 – 1923) is one ofthe objects going on display in theV&A’s new British Galleries, opening2001. The carpet has rarely beendisplayed and is still very rich incolour. However, due to its size it willbe rolled to display half.

Work to examine the light fastness ofvarious areas on the Bullerswoodcarpet will commence shortly. Selectedareas on the reverse will be exposed tointense illumination (30000 lux from aUV filtered tungsten-halogen source)and the resulting changes in spectralreflectance monitored. Reflectancedata are converted to colour co-ordinates to determine colourchanges. The findings and theirinfluence on decisions affecting displaywill be published.

Syntheticpolymers Interest in the degradation andpreservation of objects made fromsynthetic polymers has increaseddramatically over the last few years.The Historical Plastics ResearchScientists’ Group (HPRSG) meetsseveral times a year to discuss workcarried out in this field. The Group’sco-ordinator is Anita Quye of theNational Museums of Scotland and theassistant co-ordinator is BrendaKeneghan of the V&A. Although thereis not, as yet, a definitive textbookdealing with this area, there are anumber of sources of informationworth listing:

1. Saving the Twentieth Century: TheConservation of Modern Materials:the proceedings of a conferenceheld in Ottawa in 1991, publishedby the Canadian ConservationInstitute.

2. Ours for Keeps?: a resource packproduced by the Museums &Galleries Commission containing achapter on Twentieth CenturyMaterials and a specific chapter onplastic dolls.

Following on from the very successfulClassic Plastics Clinic held in 1997,the National Museums of Scotlandhave produced a book on thecollection and care of historicalplastics. The book containscontributions from the members ofthe HPRSG and the expectedpublication date is autumn of 1999.

FlorentineWorkshopOn the 21 April 1999 a whole day wasdedicated to communicating themessage of ‘how important displaycases are’ to a professionally diverseaudience in Florence, Italy. Theworkshop, LA VETRINA PER IL MUSEOcaratteristiche e requisiti di funzione,was hosted by the Opificio delle PietreDure with their superintendent,Giorgio Bonsanti opening the session.

The aim of the workshop was todemonstrate the rudiments for thebest assessment, application andoptimisation of display caseperformance to museum personnel,public and private bodies. Thepresentations looked at each of thekey areas of a display case in turn:assessing performance, pollutantlevels, cleaning materials, constructionmaterials, lighting, and monitoringequipment and methods. Theworkshop proved highly successful,attracting a large number ofparticipants from Italy, Monaco,

Geneva and the UK. The size of theaudience would seem to indicate thatthere is a need for more of theseinternational exchanges.

Postprints, including the V&Acontribution, will be published inItalian and English later this year bythe Opificio delle Pietre Dure.

The Bullerswood Carpet, T31-1923 7650mmx3980mm

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ki, M

Phil

20th

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(with

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Mag

dale

na K

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a, P

hDPh

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Mou

nts

and

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Will

iam

Lin

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, PhD

Risk

Ass

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Hea

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Por

ter,

MA

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APo

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it M

inia

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s

Shih

o Sa

saki

, MA

Japa

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Prin

ts

Rica

rd S

unds

tröm

, MA

Pain

ted

& D

ecor

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Surf

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Silv

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alus

si, M

Phil

20th

Cen

tury

Mat

eria

ls

Than

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Vel

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MPh

ilCo

mpu

ter

Vis

ualis

atio

n

Met

axia

Ven

tikou

, MA

Scul

ptur

e

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