Artifact or information? Articulating the conflicts in conserving archaeological textiles

Abstract

This paper explores issues involved in the conservation of archaeological textiles by articulating often unstated conflicts in preserving both the object and the information it contains. Three main areas of conflict are identified: defining the term 'archaeological textiles'; preserving both the artifact and the information it may yield; and conflicts in ethics and practice. Varying approaches to treatment are illustrated by case studies, including a seventeenth-century linen doublet and textile fragments excavated from first-century sites at Masada, Israel.

Writing Conservation: The impact of text on conservation decisions and practice

“…Conservation practice ranges from preliminary investigation, through preventive measures, to remedial techniques, and to restoration; it may involve removing a vulnerable object from circulation and replacing it with a replica or surrogate. The conservator is faced with several dilemmas: if an object demonstrates several values, and has clearly gone through a number of changes to condition and meaning, should it be conserved in its current state, or should an attempt be made to regain something of an earlier state (Brooks et al 1996)? Should a musical instrument, or clock, be conserved so that it can demonstrate its original function of producing sound, or keeping time (this may involve repairing or replacing worn parts), or should it be cleaned of later accretions and stabilised as a static example in a typological sequence, or conserved complete with all the damage resulting from association with a notable event (a bugle used in a famous battle, a clock which went down with the RMS Titanic)?…”

Rehousing a collection of archaeological textiles

“…Whereas traditionally the aim when conserving an archaeological textile was to return it to a flat state, it is now understood that considerable evidence is preserved in its folds and creases (Pritchard 1990;Cooke 1988;Brooks et al 1996). Consequently, a flat textile artefact is no longer the ultimate goal of conservation; indeed the opposite is now the case.…”

Writing as Material Practice: Substance, surface and medium

“…The conservator is faced with several dilemmas: if an object demonstrates several values, and has clearly gone through a number of changes to condition and meaning, should it be conserved in its current state, or should an attempt be made to regain something of an earlier state (Brooks et al 1996)? Should a musical instrument, or clock, be conserved so that it can demonstrate its original function of producing sound, or keeping time (this may involve repairing or replacing worn parts), or should it be cleaned of later accretions and stabilised as a static example in a typological sequence, or conserved complete with all the damage resulting from association with a notable event (a bugle used in a famous battle, a clock which went down with the RMS Titanic)?…”