Preface of The Conservation of Antiquities and Works of Art1
This book is concerned with the broad field relating to the restoration of antiquities and works of art, and with their subsequent conservation. It is intended as a handbook for the collector, the archaeologist, and the museum curator, and as a workshop guide for the technician.
As collectors know only too well, the acquisition of objects is but the fist step towards their incorporation in the collection. In order to be able to appreciate and study the objects, it is usually necessary to clean, restore, and repair them, and always necessary to maintain a suitable environment which will ensure their stability whether in storage or on exhibition. In the following chapters simple instructions are given for cleaning and preservation, and the collector with a practical turn of mind who desires to carry out for himself the methods described can do so without any special technical training.
The archaeologist will find interest in the methods that science has to offer for the restoration of antiquities fresh from excavation and for revealing evidence of value to him in his researches. Many examples are given throughout the work, showing how unsuspected facts are brought to light during the normal course of laboratory investigation and treatment.
The requirements of the museum curator, who is not always in a position to call in the museum scientist, have been particularly considered, and it is hoped that this publication, which deals with the numerous causes of deterioration in museum objects and their treatment, will enable him to detect and arrest decay in its early stages, and also to carry out the simple cleaning operations that so often add interest and value to the material in a collection.
The subject-matter is necessarily very varied, based as it is upon the day-to-day problems that are presented in the Research Laboratory of the British Museum —problems relating to books, prints, drawings, manuscripts, textiles, coins, objects d'art, ethnographical specimens, and antiquities of all kinds. From this wide range of material examples have been selected that illustrate common types of deterioration, and an attempt has been made to recommend form among the various methods of treatment available those that have proved most effective and are at the same time relatively easy to apply. In order to preserve the balance, however, detailed descriptions are included of some of the major tasks of restoration that have been carried out. This has been done partly for the sake of interest, and partly to emphasize that it is impossible to prescribe for all contingencies; each specimen that is submitted for treatment presents is own individual problems, and standard methods of treatment may have to be adapted or new methods devised before a satisfactory restoration can be achieved. Whichever methods of treatment is chosen, it should be applied so as to yield results that lie between the extremes of over and under-cleaning, the aim being to realize the golden mean which will satisfy at the same time the requirements of science, art and archaeology.
The special problems of the picture gallery have not been overlooked. In common with the museum, the picture gallery is vitally concerned with the stability of materials and methods of conservation, but the restoration of easel paintings is a highly specialized undertaking, and while instructions are given for carrying out some of the simpler studio processes, it is not the intention of the author to encourage the amateur to attempt intricate operations on valuable material. Such work is for the professional artist technician —one who has practical experience based upon a knowledge of the methods used by the Old Masters in the different schools of painting. It is important nevertheless that the collector or curator of paintings should himself be familiar with all aspects of picture conservation. He will then be able to discuss his problems in a knowledgeable way with the restorer, and take a personal interest in any treatment that may be required.
All the processes described herein have been tested, most of them at first hand, by the author. Many are standard methods that have been handed down through several generations, but some are offered for the first time. While the methods recommended are all based upon scientific investigation, the book is not written for the scientist. On the contrary, a conscious effort has been made to write for the non-specialist who has the responsibility of caring for art treasures. By presenting the material in this way it is hoped that the work will be of service to a wide range of readers not only in the museum world, but also in the home, where, indeed, many of our greatest treasures are still to be found.
I am greatly indebted to the members of my staff who have put their specialized knowledge at my service. In particular, my thanks are due to Dr. A. E. Werner for reading the manuscript and making may valuable suggestions; to Mr. R. M. Organ (metals); to Miss Mavis Bimson (stone, ceramics, and glass); to Miss Sylvia Schweppe for her help in collecting and collating the material; and to Mr. L. H. Bell for his help with photography.
H. J. P.
1956
1 Tomado del prefacio de H. J. Plenderleith, 1956, The Conservation of Antiquities and Works of Art: Treatment, Repair, and Restoration, London, New York, Oxford University Press.