Getting the Word Out

From the desk of Colleen Wilson,

Conservator at the Royal BC Museum

Visible light is  a small part of the radiation 
received from the sun.

Although our job is to preserve the museum’s collections, RBCM conservators actually want to preserve everything.   To that end we speak frequently to local groups who have an interest in history and are happy to answer enquiries about caring for the things they collect. 

But too much talking (and writing) cuts into the time we spend actually conserving.  So this summer, in addition to the Discover talks in the gallery by members of the department, there will be eight in-gallery presentations weekly by docents who have had a crash course in Basic Conservation Issues.

These dedicated volunteers will be found in the Old Town, probably in or near the Chinatown streetscape.   They will be recognizable by their out-going and captivating personalities (and possibly their second-hand lab coats); they will be prepared to share information about “Light, Dust and Insects.”

Light (Radiation)

Visitors frequently comment on the low light levels in the exhibits.  Placing our treasures on display means that people can enjoy and learn from them, but the risk of loss from light damage is great.  Light damage is irreparable (once faded a colour is gone) and cumulative (more exposure means more damage); we frequently have to choose between exposure and preservation.

Part of a quilt that was 
protected from 
overexposure to light

The same fabric 
from an area  that 
was in direct sunlight.

Dust

Conservator Kjerstin Mackie 
dusts John Lennon's 
Rolls Royce weekly.

Dust presents two problems in the Museum:  it makes the exhibits look … dusty.   And removing it is time-consuming, expensive and hard on the objects.  Although open exhibits are much more engaging, they are much more likely to get dusty – the forest and seashore dioramas look quite a bit less convincing when covered with lint and fluff.  But removing the dust has to be done extremely carefully, particularly in the artifact-rich settings of the Old Town.  Cleaning can be risky for materials that were not designed to be wash-and-wear, and it is essential that only dust that has fallen in the museum be removed; soil that is part of the artifact can contain valuable information.

Insects

In our temperate climate, insects are an ever-present threat.   Some arrive with potential donations, some come in with floral décor, some hitch-hike in on visitors fresh from the garden.  Once inside the Museum they seek out their preferred food groups, but they can gain sustenance from food scraps along the way.  Part of our Integrated Pest Management strategy are weekly patrols of the windowsills to remove dead flies (that could provide a strengthening meal for protein eaters); detailed examination of all flowers and props that are used in the galleries; and a ban on casual food and drink above the ground floor.

Moth larvae have dined on the wool cover of this 
WW1 water bottle.

The volunteer presenters will have examples to share, equipment to test and explanations for much that is not apparent to the average visitor.   They will have suggestions for things to look for in the galleries, and recommendations on how to care for treasures at home.  Best of all, their enthusiasm is sure to inspire visitors with a greater understanding of the complexities of preserving our cultural heritage.   

Dirty Laundry

From the desk of Colleen Wilson,

Conservator at the Royal BC Museum

Many of the textiles returning to Helmcken House after the installation of the new fire suppression system were very dirty.  To clean or not to clean?  Both the original appearance and the loss of evidence must be considered.  Vacuuming away dust that has settled on exhibits is one thing; washing away the fingerprints of use is another.  Could the grease stains on a pillowcase be from Dr. Helmcken’s hair oil?  Might the stains on a jelly bag reveal something about 19^th century fruit processing?  The lives of 150 years ago differ from ours in the details and it is amazing how much is not recorded about the minutiae of “everyday life”.  The information held in tea cosies and carpet slippers can be invaluable.

Not everything was created with laundry in mind, and years of use have enfeebled many aged textiles.  Composite artifacts may not withstand treatment more strenuous than vacuuming because the parts may respond differently creating destructive internal stresses: if the lace inserts shrink in water, the dresser scarf could self-destruct.  Many dyes developed in the 19^th century are not stable in water; some can be stalled by controlling the pH of the rinse water, but only if experimentation has established a safe procedure beforehand.  All fibres must be assessed, all colours, including those of patches and darns must be tested before wet treatment. 

Making the decision to wash textiles at the RBCM is made easier by the quality of water in Victoria.  Because it does not contain the minerals that make water “hard”, and requires only minimal filtering to remove particulates, delicate artifacts can be safely and effectively washed in tap water.  Positively charged calcium and magnesium ions can lock negatively charged soil to negatively charged fibres; conservators faced with hard water must use de-ionised or distilled water to prevent the formation of intractable “re-deposited soil”.

Old textiles can easily be damaged while wet.  To make the risk worthwhile, detergent should provide maximum cleaning but minimum stress.  In the past, laundering meant lots of heat and soap – very effective at getting things clean, but too harsh and alkaline for fragile artifacts.  Contemporary detergents, even those recommended for delicate fabrics, contain perfume and dyes to conform to our current ideas of how “fresh” and “clean” should look and smell (few of us would choose brown detergent!).   While additives cycle through our household laundry they can pose problems for artifacts that are rarely re-washed.  The traces of dye and perfume, not to mention “fabric conditioners” and “optical brighteners” can change colour or interact with older materials unexpectedly, as well as presenting a 21^st century version of “clean”.   

The attraction of an historic house is seeing artifacts in the context of their original settings, not isolated in protective cases.   Artifacts displayed in the open, though, are vulnerable to many dangers including soil and pollution; just the removal of dust can be very stressful for aged materials.  The rooms of the past, however, would not have been filled with a century of dirt.  While cleaning artifacts takes its toll, displaying soiled ones gives a less than historically accurate impression.

Dirt has sifted through the knitted bedspread on open display.

Soiled and stained textile being considered for washing.

The unstable red and green dyes have bled into the white wool of a child's embroidered coat.