HOW FAR IS TOO FAR?

Conservation Tips & Tricks | Selin Kahramanoglu

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Let's talk about ethics.

Picture this: You're a conservator in a prestigious museum (congrats!), and you are tasked with restoring the painting, Woman with a Parasol, by Claude Monet. In this scenario, the painting has been cut along the top of the canvas during its transportation to the museum's collection storage.

It's only ripped. No big deal. Just patch it up, right?

Yes, the tear is near the frame, but in this imaginary scenario the tear also thinly runs down the canvas, and clearly strikes through the image of the young woman in the painting. There's no way to hide the damage. Suddenly, the slashed painting is more problematic than we initially thought. You sure that you want to keep going?

Woman with a Parasol, painted by Claude Monet. Source.

Door Number One: If you choose not to restore the painting, the rip would likely get bigger over time, and it could never be displayed in such a state. Shame would cast a shadow over your institution (sorry, I'm excited for Game of Thrones), because the Monet painting was damaged while in your care. Too bad. There goes your reputation. 

Door Number Two: If you choose to restore the painting, you will need to repair the canvas in the back, but also paint over the front image to cover the ripped edges. The question is, are you willing to paint over an original Monet? If the answer is yes, then welcome to the dark side of conservation practices.

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The restoration of art is a task frequently given to conservators. Sometimes objects get accidentally damaged when moving between spaces, and other times it is an action that was purposefully done. Still, how much work can reasonably be done to repair a work of art, or an artifact, before the restoration impedes the integrity of the original work? At what point would a conservator become a contributing artist?

Now, I know these ethical decisions are hard to make, but don't worry. Remember our golden rule: The point of conservation is to protect the current state of the object, using techniques that are reversible in the future.

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Ethically, conservators are restricted to doing only what is necessary to conserve the object. That's why we would have to repair the painting's canvas. However, adding more paint to the artwork, on top of Monet's existing work, is another moral dilemma.

Here's the good news: Paint can be removed. Impressionism art has layers upon layers of paint, which can be taken off, even if the paint has been dry for decades. If a conservator chooses to paint on top of Monet's work in order to cover the rip, then yes, the conservator's paint job is reversible. So far, so good.

Sorry, there's bad news: The extent of conservation on an object is subjective. Unfortunately, each conservator is not watched by a jury of experts in the lab, telling them when they've overdone it. How can we trust that a conservator knows when to stop tinkering, repairing, altering?

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Don't forget, you are the conservator in this scenario. No one else. The decision is yours to make. The mistakes are also yours to make. Here are four important tips to following best practices when it comes to ethical dilemmas in conservation:

1. Consult another conservator or specialized expert. Try to not to pick a friend, or a colleague in the same institution, when consulting for a second opinion. You wouldn't want any biased remarks in this case. You need brutal truths on how to proceed with the job.
2. Research previously completed conservation treatments. There are many examples of a job gone wrong, and it is equally helpful to see what decisions you shouldn't be making. At the same time, a similar situation would show you the processes that someone else has already tested out before you.
3. Trust your instincts. If you think that you're in danger of going too far, then the answer is probably yes. Do you think your hand is too shaky to patch up the painting today? Then, take a break. Are you unsure as to which solvent test to do? Ask someone. Don't guess, and don't push yourself to do the job.
4. Take some risks. I know ethical dilemmas are scary, especially if you're the one in charge. Still, we should be trying to push the boundaries of our professions. Demand an answer to tough questions. If you have a strong rationale behind your decision, then do it!

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Like most ethical issues, this topic can be debated, and I won't pretend to have a definite solution. However, I encourage you to think about these problems when you go on a museum visit, or tour a historical site this summer. Take a walk through the unknown and dangerous side of conservation!

MORE THAN JUST BROKEN ARTIFACTS

Conservation Tips & Tricks | Selin Kahramanoglu

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Imagine if the wings of Winged Victory were smashed into so many little pieces that it was impossible to recover. It is true that the statue’s head and arm are already missing, but the artwork is made famous by its wings. Currently housed at the Louvre, and dated to almost the 2nd century BCE, this statue demonstrates the essence of Hellenistic marble and artistry. The wings are the iconic part of the statue. They are at the very core of the statue’s significance. The wings are everything.

For conservators, this is a critical moment.

Do they make plaster replicas of the wings, and add it back to the statue so that it is whole again?

Or, do they leave it the way it is?

Statue of Winged Victory, also called Nike of Samothrace. Source.

When it comes to restoration, some of our conservation decisions will be questionable. People will agree with us, and people will certainly disagree too. Still, these tough decisions need to be made. Who is to stay which choice is right? In this post, we think about the general advantages and disadvantages to the restoration of artifacts, and how they are more than just broken objects. 

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Advantages

There are a lot of reasons why we might choose to restore a damaged artifact. Especially if it is within the museum’s budget, expertise, and resources to do so, why wouldn’t we try to rescue it? The whole point of conservation is to try to keep the original state of the artifact as much as possible, so of course, conservators would try their best to accomplish that. 

To add, if an artifact is damaged while under the protection of the museum, the institution may wish to erase any evidence of the incident. A museum’s reputation is at risk when pursuing future acquisitions, if the museum has a history of not keeping good care of its artifacts. 

Generally, restoration helps…

• visitors envision the historical, original state of the artifact on display 
• forget that the artifact was ever damaged
• show that the museum has sufficient and up-to-date resources to assist conservation efforts
• demonstrate the knowledge and skill of the conservator 

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Disadvantages

Here's where things get fuzzy. Choosing not to restore an artifact can be considered brave, forward-thinking, or more often, risky. If a museum decides to keep a damaged artifact on display, this might show visitors that the incident is now a part of the object's biography. Conservators might say that the damage has been done, and we need to acknowledge this history, not erase it.

Many people might disagree with this tactic, because the sight of the damage could overwhelm the entirety of the artifact. Perhaps, the broken outline is all you see, and any hope at restoring the whole artifact fades. Sometimes, visitors might be angered when seeing the damaged artifact on display, because it reminds us of the damage that had been unwillingly inflicted. However, should we try to subdue this anger? Couldn't this frustration add more significance to the artifact?

Briefly, the lack of restoration means...

• acknowledging the incident that caused the damage
• accepting that the original state of the artifact is now unattainable
• possibly insinuating that the museum does not have the conservation resources to restore it
• allowing visitors to think critically about not restoring every artifact

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Whether we choose to save a damaged artifact, or not, the decision is difficult and with some consequences. The next time you visit a gallery with a damaged artifact on display, or an object that has had obvious repairs made, let's consider why a conservator might choose to present the object in that way. Maybe, there's more to the story?

See you next month for the next post!

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DIGITIZATION TO THE RESCUE

Conservation Tips & Tricks | Selin Kahramanoglu

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The much-anticipated (just humour me, you guys) third and final part of the "Alternative Conservation" series has arrived! This post will address the digitization approach to conservation, using the Lascaux Caves as our case study. Hold onto your floppy disks and let's get going!

Wall painting in the Lascaux Caves. Source.

Don't Get Too Excited

Now, I'm not going to sugar coat this (partly because I'm on a diet), but digitization is some tricky business. Creating digital records is an everyday occurrence that can't be helped. Left and right, born-digital records are being produced almost as often as superhero movies. Unfortunately, with digital records, we can never go back to the original context of the record's creation. For this reason, records are unstable.

Let's say that I want to remember my trip to the Lascaux Caves. I can take a picture, a video, an audio recording, or even a 3D scan of the site. What if I want to post a shorter version of the video of my trip on Instagram? Then, it's no longer the same video. It doesn't matter that the edited video is from the same source, and has the same content. It's been changed, and that's that. No turning back.

Tip: Metadata is always changing and updating, so it's important to acknowledge that it's difficult to keep up with digital records, but not impossible.

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More Bad News

One thing we can't ignore is that digital records live fast, and die young. In the next couple decades, some hardware and software will be obsolete. This means that some records will no longer be accessible, retrievable, or even comprehensible. If you want to record an audio file on your visit to the Lascaux Caves using the recording app of your smartphone, think twice. In two years, that phone won't charge anymore, the battery will die, and your file will be lost.

With planned consumerism, the lifespan of digital mechanics are getting shorter and shorter. Still, the digital method is convenient. Especially when it comes to phones, laptops, and tablets, these digital resources are right at our fingertips. The question is, do you think constantly paying for the newer update is worth the trouble?

Tip: The reality of the matter is that restoring an older digital format or reader is time-consuming, requires resources, expertise, and money. A lot of money.

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ANYTHING Positive to Say?

After all those limitations, why in the world would we use digitization as a conservation method? Remember that digital records are easy to create, to manipulate, and to dispose of. That's why it can be an excellent method for conservation! Let's say that you want to teach someone about how the light dances in the Lascaux Caves. Just take a video and show them. You've just created a digital record of an entire experience, easy-peasy.

With so many artifacts in a museum collection, it is not very realistic to put them all on display. However, digitizing the catalogue and making it available for public online viewing is similar to displaying them. Some museums are strictly digitally accessible. In any case, digitization allows the museum visitor to see and experience much more, pushing the boundaries of the physical museum.

Tip: Limited exhibition space? Place a tablet containing digitized artifacts relevant to the exhibition theme in the gallery to compliment the physical objects on display.

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Finally, Good News

With the digitization of artifacts, rare, and unique object can be seen at any time, and anywhere in the world. We can simulate realistic, and immersive, interpretations of lost heritage to our heart's content! Through landscape digitization, we can visit the Lascaux Caves, and even walk among the site in a virtual reality experience. Digital copies of artifacts and archaeological sites also protects the originals from the damages that can occur from too many physical interactions. Not only that, digitization can be useful for wayfinding. Have you ever gotten lost, or unsure of what your destination looks like? The Google Maps app and Street View can get you to where you need to go because global geography has been digitized!

Tip: The digital record has the potential to become an exact replication of the original, but it can never replace it. Rather, the digital adds another dimension to comprehending information.

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The next time you're considering alternative conservation methods, digitization is a very real and frequently used approach in the modern age. Of course, the more traditional methods of preservation and restoration are good options too. It all depends on what you're trying to salvage, for how long, and if you have enough resources to do so. Good luck with your upcoming conservation practices, my friends, because I know that choosing one method is not as easy as it looks.

DEBATING THE AUTHENTICITY OF RESTORATION

Conservation Tips & Tricks | Selin Kahramanoglu

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Welcome to the second article of my three-part series about different conservation methods! This week, I will discuss restoration practices, and use a recently reworked famous Italian painting as our case study. Cominciano!

The Last Supper, by Leonardo da Vinci, found at Santa Maria delle Grazie in Milan. Source.

What's the story?

According to a report by The Independent in 2012, The Last Supper was restored out of Leonardo da Vinci's modern studio, by Pinin Brambilla Barcilon and Pietro Marani. The painting had particular damage from grime and also suffered from bad restoration techniques in the past. In 1999, the artwork was finally revealed after twenty years of conservation efforts, but not everyone was pleased.

In situ, the 1498 painting is located on the wall of the Santa Maria delle Grazie in Milan. In true Leonardo da Vinci fashion, the tempera painting is on top of sealed stone, which is prone to discolouration and deterioration, especially when exposed to humid climates overtime. However, some people think that the recent restoration overwhelms the painting, and the original work is barely present. People start asking the question: Is it even a Leonardo da Vinci anymore?

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Why bother with restoration?

As mentioned in my previous article of this series, humidity is a major threat to historical artifacts and sites! In this case, there were only two options: 1) The conservators intervene and restore the painting, or 2) The painting continues to deteriorate naturally. What do we do when it comes to an original Leonardo da Vinci masterpiece? Most conservators will choose to rescue it.

The choice to restore a piece of history is not an easy one. For The Last Supper, there isn't much to think about, because the painting was produced from a famous artist. It is culturally valuable, and thus deserves conservation efforts. Yet, other artifacts are not so smussato - for example, some pieces may be ancient and historically interesting, but not too publicized, and often overlooked by the general public. Both scholars and the average person needs to be able to find the object culturally important, so that the artifact is worth the money, labour, and resources for conservation.

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Focus on the good!

Apart from saving an artifact from completely disappearing off the face of the earth, restoration is useful for two related reasons: First, a restored piece gives the impression that it is one "whole." From the outside, a good restoration job means that you can't tell between the original and the recent reworkings. The artifact gives the illusion that it has not been slowly deteriorating, but instead seems visually complete and untouched. Molto bene!

Second, a restored artifact (especially a Leonardo da Vinci work) attracts tourists. It is the same idea when something new and sparkly comes on display at a jewelry store. When a historical objects comes out of storage for the first time in years, the public wants to see it - in its entirety. Speaking from experience, visitors don't typically enjoy seeing a tiny fragment of an object, while the rest of the item is lost, or fading to dust.

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We can't ignore the bad...

Restoration involves intervention. In my opinion, the moment you alter an artifact, it is no longer 100% original. The Last Supper, for example, is still an authentic work, but the object's identity now has an added layer. Despite efforts to replicate the item as smooth and exact as possible, the object's biography changes, and we add a chapter of restoration to its history. 

Not only this, restoration resources are expensive, difficult to acquire, and need advanced expertise - not the easiest to come by! Mi dispiace, but you need a large amount of funding and support to get a restoration project approved and completed. Moreover, in the past, a bad restoration job is often met with a fierce public outcry and have not always been fixable.

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I'll leave the decision up to you! Which do you prefer, restoration or natural deterioration? It's a bit of a debate among conservators, but one thing is for sure - as long as the conservation technique is reversible without causing damage, why not give it a try? Arrivederci amici!

Additional References

The Independent. (November 26, 2011). "Last Supper restoration May 28, 1999."

Clark, N. (March 14, 2012). "A demanding, daunting - and in some cases destructive - profession." The Independent. 

Alberge, D. (March 14, 2012). "Have art restorers ruined Leonardo's masterpiece?" The Independent.

Richmond, A. (2016). "All restoration is not the same." ICON: The Institute of Conservation.

Where are Sue and Mike. [Bloggers] (n.d.). "Old Milan and Leonardo."

PREVENTING THE INEVITABLE

Conservation Tips & Tricks | Selin Kahramanoglu

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Curious about the title? I'm glad I caught your attention!
For the next few months, my articles will feature a three-part series about different methods of conservation. This week, we will focus on preventive conservation, and use the Hagia Sophia museum in Istanbul (Aya Sofya, in Turkish) as our case study. It is also my favourite place in the whole world, so I'm excited to dive in!

Hagia Sophia during May. Photo courtesy of Selin Kahramanoglu.

Preventive conservation is a strategy that is always used in museums - it is basically Conservation 101. The purpose is to predict how an artifact will decompose overtime (because it is inevitable), and how we can take early measures to slow it down. It is incredibly important that all conservation methods are reversible. Nothing at all is permanent, so leave your Sharpie marker at home!

When we're talking about preventing the deterioration of cultural heritage, we are referring to both the artifacts, and the housing institution. This means that the historic object should be regularly checked for damage over time, but also the building's environment requires regular maintenance. Shall I go on?

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Using the Hagia Sophia museum as our example, let's look at the main components of preventive conservation...

Is it getting hot in here?

Idris Elba aside, Turkey is very hot in the summer and throughout most of the year (I swear it was 40 degrees Celsius in June and I was melting). This extreme heat can cause major damage to the artifacts and historic infrastructure. With the Bosphorus Strait nearby, the Hagia Sophia also suffers from high humidity, causing even worse long-term problems.

Can you see my sweat glistening? Photo courtesy of Selin Kahramanoglu.

Solution: Central air-conditioning is essential for conservators to stay sane in the high heat, but also to save the artifacts and historic structure. Small, portable humidifiers and dehumidifiers can help control the moisture in the air. According to the International Council of Museums and the Committee for Conservation (ICOM-CC), the typical museum should stay at around 20 degrees Celsius and roughly 50% relative humidity.

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Turn that light out! Or, maybe not?

If you've ever walked through Hagia Sophia, the upper gallery has many windows that overlook the lovely gardens outside and provide natural lighting for visitors inside. However, this is a total nightmare! It may be beautiful, but inconsistent lighting will cause damage to anything touched by sunlight or direct artificial lighting.

Beautiful but damaging natural lighting. Photo courtesy of Selin Kahramanoglu.

Solution: Rather than cover-up the scenery with blackout blinds, the museum can invest in lighting the rest of the gallery space at an indirect angle, so that the room is lit as evenly as possible throughout the day. Along with the chandeliers, these lights will have to be altered with each change of season, and need to be readjusted on overcast days too. Light blinds will also reduce the intensity of sun rays streaming in.

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This is a 'No Spider Zone'

Nobody likes dusty air and creepy crawlies. As an old building in the heart of the city, Hagia Sophia is naturally prone to both of these threats. With open windows, bugs can fly in and nest, or eat up the textiles. The doors are left open because of the numerous visitors constantly walking in and out of the building, this invites other air pollutants to enter as well.

Ongoing excavations outside means a lot of dust for the inside. Photo courtesy of Selin Kahramanoglu.

Solution: Keeping doors and windows closed would help, but it could cause the museum to get stuffy. Ideally, the windows would have screens to keep the bugs out, and protect everything inside. Still, the museum should have numerous air filters throughout the space to help keep the environment clean, even with the AC on.

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Now you know the basics of preventive conservation! Conservators also consider the possibility and intensity of vibrations (from earthquakes, or subways), sterilizing equipment before treating an artifact, using a fume hood for chemical treatments, and wearing gloves when handling metal artifacts.


If you use all these strategies, then you will create a safe and stable museum environment for historical sites and collections for many years to come. Well done!

References

ICOM-CC Environmental Guidelines

Museum Association Guide for Lighting

TO SAVE OR NOT TO SAVE?

CONSERVATION TIPS & TRICKS

BY: SELIN KAHRAMANOGLU

Welcome to my final article for the summer! I'd like to indulge in a little ancient Greek symposium, and explore a hotly debated topic in conservation practices: How do you decide which artifacts deserve saving? *sips wine* Let’s discuss.

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The reason why this question raises some eyebrows is because everyone’s has an opinion. Even professionals disagree on the circumstances surrounding object conservation. Unfortunately, the alternative is quite drastic: Without conscious care, objects will naturally disintegrate, and in most cases there’s no possible recovery. As a conservator, quite literally, the object’s life is in your hands. Will you save it, or let it go?

Let’s look at three common criteria that help conservators make this decision easier:

1) Quality of Condition 

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Friend, if your artifact looks like it's beyond repair, then it’s probably too late. Based on how much time and resources is needed to recover the original state of the object, then the conservator will decide if it is worth the effort. It doesn’t matter how wonderful the object may be, if it’s already too damaged, then conservators are less likely to work with it.

• A shattered vase, a skull with missing teeth, a painting with discolouration, a book with an unraveling binding, etc. – These are all objects that can be saved. The tasks may be complex, but that just means that it will take more time. It is not impossible.

2) Necessary Tools

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Do you need the pigment of a plant that only grows in some inhabitable land? Then, my condolences, your object can't be saved. Not all conservators are fortunate enough to have every tool at their disposal. Even if the conservator is prepared to put in the extra effort, acquiring new tools takes funding, and not every institution is willing to pay a few thousand dollars to save a single ceramic plate. 

• Let’s say that you have a generous sponsor, who buys all the tools you’ve been dreaming about. Do you know how to use them? Even with all the latest technologies, conservators must have the expertise needed to use these tools, which can take years to learn and special training.

3) Cultural Heritage Value

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Here’s where things get tricky. When discussing conservation, this is the topic that causes the most disagreements among professionals. Conservators need to decide whether or not the object is a cherished part of history to determine if it should be saved. There's lots of questions that need answering, and decisions can be swayed by personal views. 

• Is the artifact the only one of its kind? Who has the right to decide if it's historically valuable? What criteria are they using? How was the object acquired by the museum? Is it useful in the future? – There’s a lot of uncertainty that accompanies questions of value because it is based on individual perspectives and interpretation.

Thankfully, conservation is not always so complex. Conservators often debate with each other to gain new insights, and challenge one another for alternative approaches. Professionals practice open communication and partnership when deciding to conserve an object. Many times, conservators agree about how to best protect an artifact. 

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Remember: If an object is considered unqualified for conservation treatment, it is not lost forever. Some artifacts are meant to deteriorate as part of their meaningfulness to the culture. These days, objects can be reproduced, or preserved through digital means (i.e. 3D scanning, virtual archaeology). Conservators just try to do the best that they can for each object, and roll with the punches!

The next time you think about conservation at the museum or archaeological site (check out my first and second articles), consider the above criteria and don’t be afraid to ask the tougher questions! Discussions have the potential to spark new ideas. *sips more wine* 

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What do you think? Comment below! 

Further Reading:
https://www.nedcc.org/preservation101/session-9/9selection-for-preservation.
https://www.huffingtonpost.com/steve-berry/why-preserving-history-matters_b_1446631.html.
 

GET YOUR TOOTHRBUSH, WE'RE GOING ON A DIG.

CONSERVATION TIPS & TRICKS

BY: SELIN KAHRAMANOGLU

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Grab your gear, because we're heading back to the dig site! This article discusses my favourite part of archaeological conservation: Cleaning artifacts!

The best way to protect a newly excavated object is to stabilize it on site, before shipping it off to the museum. This means we need to get out our toothbrushes, and make that hunk of dirty pottery squeaky clean!

Step 1: Don't Touch It (Yet).

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Before removing an object from the ground, make sure that you've cleaned around it as best as you can without dislodging it.

• Level the trench. Use brushes and dust pans to clean the area around the artifact, so that the ground is smooth. When the surrounding are is flat, then it is easier to see how the object is resting inside the ground, which helps you decide how to remove it safely!
• Careful where you step! Avoid getting really close to the artifact, or using water and heavier tools (like trowels) around the object. These will disrupt the integrity of the dirt layers under the artifact, which can cause your object to move unexpectedly, and puts it at risk for breaking!

Tip: When you remove an artifact from the dirt, all the elements that supported it and allowed it to survive all these years, will also be removed. This is why conservationists focus on preserving an object's original state for as long as possible.

Step 2: GENTLY Scrub Away Dirt

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Do you need to buy fancy tools and clean the objects vigorously? Absolutely not!

• Get tools that are easy to carry. Archaeologists rely on sponges, soft toothbrushes, paintbrushes, and toothpicks, because they're efficient and light-weight. I once cleaned an ancient Roman's teeth with thread instead of floss, and it worked really well!
• No need to scrub very hard. Hold the object firmly in your hand, or place it on a clean, soft surface (like a table covered in cardboard). Then, use circular motions and water (when possible) to remove stubborn dirt as best as you can. Deeper cleaning will happen at the lab.

Tip: No matter what your tools are, they should have only ever been used to clean excavated objects (i.e. Please, don't get toothpaste from a personal toothbrush on a two-thousand-year-old shard of Greek pottery).

Step 3: Summon Your Inner Paparazzi.

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Most archaeologists still do an artist's sketch of the artifacts when they uncover it. These days, a regular digital camera is sufficient to capture the artifact at every stage of its life, from trench to museum display.

• Create more evidence. Photos help track the changes you've made during the conservation treatment, and the effects of your methods. Take photos of the object from all sides, and use a ruler to scale its size.
• Work that camera! Don't hold back, and take lots of photos. Think of the conservator like a friend that couldn't go on vacation with you; conservators can't always be at the site during the moment of discovery, so archaeologists use photos as a reliable way to retell the story in detail.

Tip: If the object wasn't cleaned properly in the previous stage, then this will show up in the photograph. Proper cleaning allows the archaeologist to clearly see if the artifact has any weak points that may cause the object to break in storage or in transport.

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That's it for this article, and thank you for reading! My final summer article will be posted this July.

Here are some additional resources:

https://sha.org/conservation-facts/faq/processing-materials/

https://www.canada.ca/en/conservation-institute/services/archaeological-conservation-services/conservation-scientific-services-archaeology.html

ATTENTION ARCHAEOLOGISTS: (CAREFULLY) DROP EVERYTHING & LISTEN UP

CONSERVATION TIPS & TRICKS

BY: SELIN KAHRAMANOGLU

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Raise your hand if you like digging skeletons and things out of the ground! Of course, I’m talking about wanting to excavate ancient tombs and uncover lost treasures.  

Did you know that the moment an object is found at an archaeological site, it undergoes conservation treatment? Archaeologists are the first line of defense when it comes to safeguarding the condition of artifacts. If you’re an Indiana Jones wannabe like me, then here are some tips that you should know...

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1)   Learn About the Upcoming Weather Forecast 

Let’s say that you just finished a labouring summer day on an ancient Roman dig site. Your team is starting to pack up to go home for the day, when BAM, you find the edge of a skull peering out from the bottom of your trench. What do you do?

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Your actions actually depend on the weather. Natural light and warm weather are considered the most favourable conditions. What about the rain and wind? Moisture in the soil can make the uncovered geographical layers unstable and dislodge artifacts.

Tip: Your artifact is safer in the ground. Typically, archeologists will use a tarp with weights (or large rocks) along the edges to cover artifacts that are still secured in the dirt.

2)   Label Everything

When you’ve got lots of objects coming out of the ground, it’s easy to lose track of exactly where and how they were found. At this point, you need to channel Monica Geller and get your label maker out.

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Conservation is all about protecting the original. The last thing you want to do is damage the site or the object, and then never be able to fix it. Don’t forget these two basic steps to cover all your bases:

• Break out your ruler and camera: Before taking it out of the ground, you need to measure where the object is in the trench, and in relation to the rest of the excavation site. Then, take lots of photo evidence.
• Someone get this girl a bag: Clear plastic bags are your new best friend. They’re easy to write on, with the inside visible, and provide protection. Label the site code and the geological level!

3) Identify the Material and How to Safeguard It 

Remember that Roman skull you found? It’s made of bone. Here’s a little secret: Bone that is over a few hundred years old is not very strong. It breaks…really easily.

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Depending on the material of the object uncovered, there are some things that you can do to keep the integrity of its structure until it’s ready for cleaning: 

• Keep it in the ground for as long as you can: If the object survived that long in the dirt, it can last another couple of days. 
• Until it’s cleaned, replicate the site conditions: Artifacts are fragile! Place them in a bin full of rice, and store that in a cool, dark place (to mimic dirt, but cleaner). 
•  After it’s cleaned, get the data: Before you accidentally knock something over, weigh the object, get its measurements, and take lots of pictures of it. Then, analyze the data!

Tip: A museum conservator will want to know what the object looked like when you found it, in what conditions it was found, and how to keep it that way.

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There you have it! Here’s some tips for you future Lara Crofts. Now you know the basics on how you can conserve the condition of an object that is fresh out of the ground!

Need further reading? Check out these websites:

http://nautarch.tamu.edu/CRL/conservationmanual/File1.htm#Conservation%20Ethics

https://www.conservation-us.org/specialty-topics/archaeological-conservation#.WvHCwZch3IU

http://www.historydiscussion.net/art/process-of-preservation-of-the-artifacts-archaeological-findings/1823