Making the Most of Mounts

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A r . r s o n qL r s r r n
Makingthe Most of Mounts:
Expandingthe Role of DisplaY
Mounts in the Preservation
anclInterpretationof Historic
Textiles Gggz)
lntroduction
The mounting of an historic textile for display aims provide it with a secure
case that objects ale
and attractivepresentation device,It is frequently
conservedspecificallyin order that they are in a su ciently stableand "comlay, Mount designand
plete" condition to withstand being mounted for
t but essentiallysePaconsidered
are
often
production, therefore,
actually conserving :
concerned
rate and additional processesto those
benefits of taking a less ;
the object. As awareness increases concernlng
interventiveapproachto the treatment of objects, is clear that this view of i
t approachis required:
mount making may become inappropriate'A
ve
receivedlimited treatthat
objects
one that combinesthe safedisplayof
the
museum context.
ment and ensures they continue to fulfil their role
Minimunr Intervention
in the wav of treat- '
Minimum intervention can be defined as doing no
ment to an object than is absolutelynecessary(Li ter rggrt rz), It is a Prinrelating to the PhYsicdI
ciple that acknowledgesthat important informa
y
altered or removed bYi
irreversi
nature and context of an object can be
ation it is an approach
certain interventive treatments. In textile co
Role of Display
Allson LIsrnR, "Making the Most of Mounts: Expanding
les," in Fabric of an
Mounts in the Preselvation and Interpretation of Historic
S
Textile
97, Ottawa, Canada, zz-25
Exhibition: An Interd,isci.plinary Approaclc,
rg97), 43-48'
nstitute,
Conservation
(Octawa:
Canadian
Prepti'tt'ts
:
Septetnber' ryg7
the Minister of Public
@ Government of Canada 1997.Reproduced by permission
Works and Government SerwicesCanada (zoo9)'
428
traditionally cor
its use is being ,
minimum interv
and curators,it i
physical and cot
be found that ar
a real danger of
to the use of hir
not as an aPProi
It is the ar
vention fall intr
made of objects
ment may be ur
tems without fu
or the very feat
preserve.In thr
nature of the o
tion with them.
textiles make tl
and this suscel
evidentialvalue
gility and vulne
tures, as well as
e t a l , 1 9 9 6r 6 ) ,
The secor
perceived by th
little interventi
from an audiet
plete" state, If
bestconfusing
visitor, then th
is undermined,
terms of the pr
rration.The co:
stronglyin rece
example,educt
psychologists,s
is meaningful t,
bered"(Loomis
but that muser
commentators,
must be comm
de it with a secure
;e that objects are
y stable and "comVlount design and
t essentially sepa:tually conserving
ts of taking a less
rr that this view of
,roach is required:
:ived limited treatnllSeLlm COntext.
r the way of treat5: n).It is a prinng to the physical
ed or removed by
it is an approach
Display
n Fabri.cof an
nva, Camada, zz-25
ry97), t43-48.
rister of Public
tion with them, The rnaterials and construction mpchanisms used l.o create
textiles malce thern highly vulnerable ro unsuita$le handling and display,
PartV
P R A C T I C E S
knowledge ar
objects to communicate for themselves,museuml run the risk of ,excluding
some rris;itorsand inhibiting the developmentof a commorl understanding
about objects befween the public and the indivi{uals responsiblefor their
pr,eservation.He cites another commentator on tJrisissue who believesthat
mr:aningcan only arise through the interaction o[ object and observer,and
that rather than being inherent in the objectstherhselvesmeaning is contex-
municate mer
(Cannon-Bro
Perspectives
Returning to
Iimited conse
mounts in mc
an object, bul
and interpretr
chernically in
able amount
greater availa
cantly increas
cision mountr
and experienc
use of by sorr
need for mou
a reactirze me
tion should b
for an object,
interpretation), Developingstudents' understarl,cling
of rvhat constitutes
th,e"true nature" of an object (United l(ngdom
for Conservation
fnstitute
I99o: 8), and the impact conservation can have on this is therefore a key
ately der;igne<
the supportiv
treatments, I
tion support t
of an object,
use or burial,
ated that dire
features of evi
can be used tr
angle that sug
areas of loss s
is required, Ir
even colour ol
is easily recop
or in a soiled,
create sucn l
experienced i
may be neede
the identificat
objects and to develop the necessary skills to enable them to use the
43c'
interpr-etation
rat "carries genuine
hnowledge and insights gained throu
t by relying on the
municate meaningfully with colleague
(Cannon-Brookes r994: 48).
re risk of exciuding
non understanding
:sponsible for their
e who believes that
I and observer, ancl
meaning is contexmeaning of objects
:t and the viewer's
t the interpretation
:rg that objects are
Perspectjives on Mounts
Returning to the problems related to the clisplay of $bjects that have received
limited conservation treatment, One por;sible solltion is to consid,erusing
mounts in more significant r,vays:not just as "coat hAngers" on which to show
an object, but as active contributors to their long-tqrm support, stabilisation
and interpretation. The benefits of creating .rppor{iu", physically stable ancl
chemically inert mounts for artefact storage are weJI known, and a c,onsider:
able amount of inforrnation and e,rpertise already exists on this topic. The
greater availability of "conservation grade" mountfng materials has significantly increasecl the possibilities for conservators t{ create high quality, precision mounts that are safe, durable and erttractive,]Much of the knowledge
: conservators, the
sons. It is essential
ervention as "doing
and experience generated by preventive conservatidn research is being made
use of by some conservators;in the area of clisplay, but there still remains a
volvement with an
need for mount making to be more widely r.iewed z{sa proactive rather than
a reactive rneaslue, It is the author's belief that mpunt design and produc-
intervention in one
other (for example-
for an object, rather than pr:ocessest
f what constitutes
ately designed and skilfully crafted m
e for Conservation
the supportive and stabilising r:ole cu
is therefore
a l<el
tion should be seen as integral par:ts of the consgr:vation strategy defined
treatmen{.s. It can enhance or even l
ppreciation of con-
tion support techniques, and can be d
ent of their profes-
of an object, regardless of whether it is stiffened !y dirt, distorted through
use or bu.rial, or is fragmentary, In essence, a "bespoke" design can be created that directly responds to the unique needi of an object including the
at in fulfilling
their
nd record informa[y involves thern in
of material cultule
nnon-Brookes that
:ct] is best read bv
:h deeper, specific
miliarity based on
g of conservators"
n and should conservators must see
.s in the processes
objects. Students
r responsibility to
them to use the
features of evidential value it contains, In the area ff interpretation, mounts
can be used to "animate" a static object, give it "boldy" and form, set it at an
ang[e that slrggestsits original function, and leduce the visual disturbance of
areersof loss so that it regains a "complete" and.cof,rerent appearance if this
is required. Informed choices can be made conce{ning the style, form and
evell colour of the mount with the specific plrrpose !f creating an image that
is erasilyrecognisable and rneaningful even if the qbject itself is unfamiliar
or in a soiled, distorted or irrcomplete state. None of the skills requir.ed to
create such mounts shoulcl be beyond the cap{bilities of conservators
experienced in dealing rryith the vagaries of manJ' historic objectr;. What
may be needed is more extensive research into th{ context of obje,:ts, and
the identification of issues and problems relevant to their conservation a'rcd.
interpretation.
43r
P a r tV
I
P R A C T I C E S
Case Studies
The following two case stucliesare presentedas
sion of a mount was an integral part of a con
that had the specificpurposesof providing the
and enhancingits understanding.The first illustra
mounts as substitutesfor certain interventive trea
dernonstrateshow the provision of a mount can
interpretativeconsequencesof intervention.
where the proviion strategy, and one
with physical support
the potential for using
nts, while the second
nd the physical and
CaseStud.yr Cap frorn a Genizah
^ rn a synagoguern
This casestudy concerns a cap retrieved from a
Southern Germany,a region that was inhabitedby
Jewishcommunities until the r93os.The cap representsa rare examp of the costumeworn by
rural people of the "small, forgotten Jewish comm nities of whose artefacts
almostnothing remains"(Friedlanderr99z:rr). It to be included in future
byTlie Hidden Legtravelling exhibitions featuring genizahmaterial
acy Foundation,2The purposeof theseexhibitions to "gain public recogni'conceal
finds,'and of theirvalue
tion of the outstandingimportanceof these
to historical,bibliographicaland theologicalresea " (Friedlanderl99zrrr),
shapedstrips of wool
The cap consistsof a crown made of nu
made of the same
fabric joined to createa complexspiral pattern, a
fabric and stiffened with paper and leather, and a ide leather peak stitched
to the headband,Prior to conservation,the cap was avily soiled and stained
and possiblyfrom use),
with surfaceand ingraineddirt (from the genizah
of the headbandwas
and was severelvdistortedand flattened,The back
torn and the peak was almost completelydetach
its condition, historical/
Following extensiveresearchinto the o
g exhibition, it was
cultural context and future role as part of a tra
mrnlmum necessary ro
determined that intervention should be kept to
its construction and
preservethe object and evidenceof its use, but
(Jav6r
Fol
detailed
exanrination
profile
1996),
ng
to
be
revealed
original
loose surface dirt was
and documentation of the cap before treatment,
removed(and retained), and the distortedleather s iffenine of the headband
the torn searnof the
was humidified. A patch of nvlon net was placed
mount was prepared.
headbandto reduce the stresson this area.A twoof the crown, consists
The upper part, designedto accommodatethe f
n be inserted without
of a flexible, fabric'covered ring of wadding that
putting strain on the headband.The lower part o the mount, designedto
peak and protect the
support and align the heavyand still partially
on, is constructed from
lower edgesof the headbandfrom stressand
432
Ethafoam (eq
ate shape,pac
shapedrecess
CaseStudy z:
This case stu
bead-net drer
Egyptian Arc.
ment that wa
dancer (Janss
beads,two fa
beadfringe, T
and an explar
for its subse,
(Seth-Smitht
The Per
collection, nc
opment of E1
accordancew
ment and retr
original use o
visitors.As th
one used excl
indicated this
ment of the c,
assistthe stat
present the b
fully and clea
ent that disp
entation wou
clearly indica
characteristic
was reconstlt
be provided a
dimensionso
The mc
from Ethafor
for its rigidit'
reconstructe(
and a knowle
at art school)
Reading
62
where the provi;trategy, and one
, physical support
rotentialfor using
while the second
the physical and
in a synagoguein
Jewishcommuni: cosfumeworn by
rf whose artefacts
included in future
yThe Hidden Legrin public recogni,'and of theirvalue
:dlanderry92:n).
ped strips of wool
I made of the same
ther peak stitched
soiledand stained
possiblyfrom use),
'the
headbandrvas
ndition, historicaU
exhibition, it was
mum necessaryto
; construction and
lailed examination
se surface dirt was
rg of the headband
re torn seamof the
)unt was PreParedlhe crown, consists
e inserted without
nount, designedto
:ak and protect thc
s constructed from
L I S T E R
Ethafoam (expanded[closed-cell]polyethylenefoa ) carvedto the appropri.
ate shape,paddedand coveredwith fabric, A rigid
oard with a mountshapedrecesswas also preparedto protect the
ring transportrltion.
CaseStudyz: Bead.-NetDress
This case study concerns a rare Fifth Dynasty (c 2456-2323nc) Iigyptian
bead-netdress,The dress,from the collection the Petlie Museum of
EgyptianArchaeology,University College Londo , is believed to be a garment that was worn (possiblywithout undergar nts) by a young female
dancer (Janssen1995:5), It is composedof a t
network of faience
(thought
beads,two faience "cups"
to be breast
rings), and a shell and
beadfringe, The history ofits excavationand
rethreadingin the r95os,
ancl an explanation of the conservationstrategy
ised and implemented
for its subsequent partial r:econstruction have
n recorded elsewhere
(Seth-Smithand Lister 1995),but the makingof t form is outlined below.
The Petrie Museum defines itself as "a te
ng, research and study
col.lection,not an art museum" in which the aim to "illustrate the development of Egyptian culture, technology and dail l i f e " ( A n o n . r g 7 7 :t ) . l n
accordancewith this institutional aim, the curator
initiated the reassessment and retreatmentof the artefactfelt it was ext
v important that the
original use of the bead network as a dressbe
explicit to the Museum's
visitols.As the dresswas believedto be a garment
in life, as opposedto
one used exclusivelyfor burial, its presentationin manner that specifically
indicated this was consideredessential.The obi ives of the mounting element of the conservationstrategywere to preserve surw,alng components,
assistthe stabilisingand supportiveeffect of the re
struction process,and
present the bead network in such a way that its o isinal function would be
fully and clearly communicated,As the project
it became apparent that displaying fhe dress mounted in a flat (
izontal or vertical) orientation would not be appropriatebecausethis
of display would not
clearly indicate its function nor enhance the rema
physical and visual
characteristics of the bead network. Althouqh only
front half of the dress
was reconstructed,it was decidedthat a fully th -dimensionalform would
be provided as this would give a more life-like
than one limited to the
dimensionsof the reconstructedpart,
The mount took the form of an upright,
Iesstorso, It was created
from Ethafoam supported by a stainlesssteel po . Ethafoam was chosen
for its rigidity, inertness and easeof shaping. U
the dimensions of the
reconstructeddressfront, measurementstaken
a colleague's daughter,
and a knowledge of anatomy and modelling from li (acquiredby the author
at art school), the form was sculpted into the req ired shape.Considerable
Part V
$
P R A C T I C E S
atl-ention \4/asgiven to producing a shapely, even sensuous, human-like form,
be acknowl<
but one that u,as not overfly erotic, T'he auatomical featules of l.he lor,r'er
occnr u'itlt <
palt of the hurnan bocly therefore were no1,reproducecl. Selecting r,rsuitable
servatcir har
colour for: the outer fabric proved crtucial to the success oll the fortn. It vr,as
able frorn t
Etf,
essentiaI that the chosen colour, u,hen viervecl r-rnclerthe lighting conclitions
be possiblc
rit
o1 the museum, had erfleslL-iike appeelrance aucl complementecl the colours
anci text.ule
o1 the beacls and shells. Reproductions of ancient Eg,yptian n,all paintings of
logue entrie
\4omen (men ar:e usually shou,n as having shin of a dat"ker shade) r'r,ere
'I'lce'moulcL
<
viervecl iir the area of the rrLuseum rvhere the dress \4/asto be clisplayed. The
'['he
resulting form provided the
selecteil colour rvas a pale pinl<ish orange.
reconstructeclclresswith adclitionalphysical sltpport to enab[e it to ''r,ithstand
T'his is a pr
permanent upright display, anil gave it a vir;ually pleasing and lifelili.e appear'-
plays ancl ol
ance (Figure r).
tlte object tlt
misinlirr:rral
rvhatever Jil
cor-rservzrfiol
f) iscusriion
time ol tl'rei
The aclvantagesof using rnounts in rlore :rctive ways have been clescribeclancl
rntervcnt.ive
illustratr:cl. h-r cliscussing any conservatior-rapploach, howeveL, there: is a need
r'vould sr:r:nr
tl-rat mery ariscrfi'onL it. l?ossible clra.vbacl<sol'
to consicler thc clisarilvantalges
ffratton or al
nsing rnounts in tire rvays clesclibecl zile therefore consiclereclbel<tr,v.
tnole inleLve
'l'l'te
deLeriorcLlionor renroucrlof Ll,rentotn,tl:u.tilLrestt:hilc ltarLia| or cot',npleLektss
or reclttcl.iotcof swpyort Lo l:l'teobject.
'['here
is :i rviclely helcl and justifierblc belief that the prctcess of supporL
'Ihe
ur-rder'lyingconcern here is
shotrlcl be sepalate from tlr:Lt of tlounting.
'll-he
cli
able 1o acl.ric
ol potenLierJ
approach r;h
Figure I
A side yierv of LIrerec,rnstrttctccl
c h c s sm o t t n t c d o n t L r cl b t m .
that unless inclepenclcr-rtlysr,rppolteclthe object will be put aL r:islt sl.roulcltl-re
'l'his
mount fail or be rerlovecl.
is a very real possibility rvith objects that rnove
the c[e{-in,ecl
'
O Pctric N{useurn ol'ligyptian
Archaeology, Univcrsi ty Clollegc
I-,orrtlonNo UCI 7743.
fr:ecluentlybetu'ecn sLorageancl clisplay.It t:onld bc argued, howevet, that this
risk of {tailurecor-rldapply lo some interventive suppol't trcatments, ancl that
zrnclminirris
slroulcl b,: cl
fr-rtnle.
the irnplications fol the object, shor.rld this occtLrt,are 1i1<e\,to be more cl:arnatic tiran those resr-rltingli'or-nthe loss of ermoulr[.. A c]etelioratecl, clamagecl
or missing rnolurt is easiel to spot by ever-ran turtrainecl eyt: than a similarlr
Conclusi,ons
al'fecteclsLrpport treatment, nnd mttch casicr ancl less hazardous to the objcct
to leplace. It secms morc al)propriate aud elficierrt to gualtl againr;t detelio-
The safe disl
ration by ensnring t-hat moLurts are weli rnade fi;om clurab[e mate:r'ials,and
pl'event r:emov:rlby creating effective operational systems) incluclini3 labelling
and ftrnction
and documeirtatiolr, than t.o resort to mot'e intelventirre treatmen[t;,
be given to 11,
the survival r
'l'lce
ntol'tnt cnccltke cu'tefacl;lteconce,in effect, "th.eobject,"
If ar-rartefact is heavily ill:pendent oli its; rnount for physical support atrc
ir:Lterpletation, therc is a dauger that artefact aud tlount will becorne "fusei
in the pelceptior-r of the vier,r,er.Althougi'r the potential for this problem mu. -
434
little or no ir
tion they cor
rnci meanii-rg
.lre presentec
,:rfmoun[s ers
fl-rere are otl
R e a d i n g6 2
-rs,human-like form,
-.aturesof the lower
Selectinga suitable
s of the form. It was
e lighting condirions
:rnented the colouls
ian wall paintings of
darker shade) were
io be displayed.The
g form provided the
rable it to withstand
, and lifelike appear.-
L I S T E R
be acknowledged,againit is irnportant to recognisdthat it is one that also
can
occur with certain interventive treatments. As with such treatment:;
the conservator has a responsibility to ensure that the rr+ount remains
ilistinguish-
This is a problern,but it is not exclusiveto mol-rnts.Labels, the,med
dis-
been described and
ever, there is a need
ssible drawbacks of
ered below.
tial or cowplete loss
lrocess of support
r-lgconcern here is
t at risk should the
h objects that move
, however, that this
eatments) and that
:11,16 1t" mo'e dra-
mation or an alternativeint.erpretationthan to ref,er:se(if this is possible)
a
more interventivetreatment,
The disadvantages
discussedaboveill*strate that conservatio'is never
ab.[eto achieveideal results,For everysuccessfula$tion there are often actual
or potential drawbacl<s,
Thr: advantagesand disadlvantages
of any treatment
approach should not be viewed in isolation fron{ the ahernati.r,es,
or from
the defined aims and objectivesof treatment, Tfe successof an approach
should be determinedby the degreeto which if meets the defi'ei aims
and rninimisesthe need for inappropriatecomprolniseboth now and in the
future,
:riorated, darnaged
ye than a similarlr
rdous to the objecr
rd against deterioble rnateriais, and
including labelling
eatments,
'sical support and
ill become "fused^
this problem rnusi
'+J)
Part V
I
ena.crIcES
images,anclthe potential of thele techniquesshc,uldbe exploredfr-rrther'The
b"r-r"fit, of extendingthe role of conservatorsin the area of displayhave also
been highlighted, along with ttfe need for better informed dialoguebetween
conservators,curarors,eclucatdrsand exhibitionLdesigners,As iilustrated by
the theme of this conferencett{e value of interdisciplinaryexchangeof information and icleasis increasing$ being recognised,Such collaborativeefforts
suggestthat the issuesraisedip this paper merirbfurther debate"
In Talmuciic literatur-e ai'genizah" is defined as a Ioom "in tvhich something
the attics
is hiclden or placed for s{feheeping," Among rural Gert.nanJervs,
Instil"ute
attd lts Cottsequ,ences(Preptlnts of ti-re contlibutions to the Intelnatioual
Roy' A ' and
for Conservation (IIC) Copefrhagen Congress, z6'-3oAugust 1996)'
tions,Pearce, S., ed. Londoh: lLoutiedge, ryg4'ltp' 19-29'
pr.own,J. ,,Mind in Matter: An IntJoduct:ion to iVlaterial Culture Th,:ory and Method,"
1994'
intetyreting Obiects and' Collectiotts, Pealce, S', ed' London: Routledge'
pp. r33-r38.
B6
R e a d i n g5 2
exploredfurther:a of display
ned dialogue
ners. As ill
ary exchangeof
h collaborative
er debate,
, A, and A, Lister. "The Research and Recons
Egyptian Bead-Net Dress," Conservation in Ancient
C., F. Macalister,and M, Wright, eds.Londonr
pp. r65-t72.
Kingdom Institute for Conservation, "Guidance for
Members Hand.booh, London: UKIC, r99o, pp. 8-9,
S. "Speaking About Museums: A Meditation on La
Reuiew,vol. 18, issue \ rygz,pp.3-g.
L I S T E R
n of a 5th Dynastry
ian C ollections, Bt own,
Publications,r995,
servation Practice," UI(IC
" Alberta Museutns
F. "Hidden Testimonies of German Rural I
, An Introduction to the
Exhibition," Genizah-Hidden Legacies of tke Ger+na Village ews, Exhibition
J
Catalogue, Wiesemann, F, Vienna: Wiener Verlag,
PP.I5-3I.
n "in which so
rman Jews, the attics
rr obsolete objects
992: ftlt7).
88 to salvageand
rnagogues ln
r and display to the
LonrUniversity Collqell
ormation? A,rticulati4
:
aeological
e International
r s t I 9 9 6 ) , R o y ,A . , a n d
vation," Care of
-)e.
[useuw Newsletter, rwblished conservation
unanVillage Jerus, Ed*
992, pp. 11-14.
glish Heritage, 1995.
ningfulness," Inten*
ion amd CuhuralActiu
ti.ng Objects and Coll,eIheory and Method,"
'n: Routledge, 1994,