nyuuzyou/wikis huggingface dataset:
Mirrors

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Copyright: 2011. The Objects Group Wiki pages are a publication of the Objects Specialty Group of the American Institute for Conservation of Historic and Artistic Works. The Objects Group Wiki pages are published for the members of the Objects Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein. 
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==Materials and technology==
===History===
===Materials===
===Technology===
==== Silvered Mirrors====
====Tin-Mercury Amalgam Mirrors====
===Identification===
===Deterioration===
==Conservation and care== 
 This information is intended to be used by conservators, museum professionals, and members of the public for educational purposes only. It is not designed to substitute for the consultation of a trained conservator. 
*To find a conservator, please visit AIC's Find a Conservator page.
 
*To learn how you can care for your personal heritage, please visit AIC's Resource Center.
===Documentation===
===Preventive conservation===
===Interventive treatments===
====Cleaning====
====Stabilization====
====Structural treatments====
====Aesthetic reintegration====
====Surface treatments====
 
====Other treatments====
==References==
==Further reading==
Mounting

__NOTOC__
Attaching to a secondary support; as in attaching a paper artifact to a stiff board, sometimes preparatory to matting, or in science to the mounting of specimens onto slides. (Getty Research Institute, 2004)
==Related Terms==
block mountings, dry mounting, face mounting, float mounting, wet mounting, matting
===Synonyms in English===
supporting, strengthening
 
=== Translation ===
English 	mounting
Dutch 	opplakken
Spanish 	montaje
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	夾裱
==Discussion==
Supports and mounts provide form and stability and alleviate stress, thereby preventing distortions, creasing, and eventual structural damage. Supports also facilitate the transportation of objects. Their design is determined by the object and how it will be stored or exhibited. A successful support is not overly complex, is easily removable, provides as much visual access as possible, and does not apply stress on the object by either insertion or removal. (Jacobson, 2010) It is particularly ideal that the mount be easily removable and use archival quality materials, such as acid-free tissue and boards. Some mounting methods can cause harm to artworks and reduce their value. (Grignonsart)
There are many different methods of mounting:
*dry mounting - Attaching a drawing, print, photograph, or other work of art done on paper to a cardboard or other backing by using a thermoplastic tissue as an adhesive.
*face mounting - A process in which a print, usually a photograph, is permanently adhered to a clear sheet of acrylic. This enhances the perception of color and sharpness, due to the acrylic's refractive qualities.
*float mounting - Type of mounting in which an artwork shows the edges of the paper within the window mat, and appears to float above the backing board.
*wet mounting - Attaching a drawing, print, photograph, or other work of art done on paper to a cardboard or other backing by using a water-based adhesive.
==References==
Jacobson, Claudia. 2010. "Preparation." In Rebecca A. Buck and Jean Allman Gilmore (EDs), Museum Registration Methods Fifth Edition. Washington DC: American Alliance of Museums.
Materials and Methods of Mounting. http://www.grignonsart.com/instructions/artmountingmethods.html. (accessed 16 March, 2015)
Mounting. 2004. Art and Architecture Thesaurus Online. Getty Research Institute. http://www.getty.edu/research/tools/vocabularies/aat/ (accessed 16 March, 2015)
Category:Lexicon
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Mounting and display

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Copyright: 2011. The Objects Group Wiki pages are a publication of the Objects Specialty Group of the American Institute for Conservation of Historic and Artistic Works. The Objects Group Wiki pages are published for the members of the Objects Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein. 
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==Mounting and Display==
Proper mounts are critical to the long-term safety of many objects. A mount may be needed for storage, display, transport, conservation treatment, or for other specific purposes. A well-designed mount will provide support to weak areas, distribute weight safely across a brittle or fragile object, and secure loose parts from moving unintentionally. Mounts can provide cushioning, or be transparent so that both sides of an object are visible. Modern synthetics have been developed to add protection from common problems such as ultraviolet light, static electricity, and glare. Use of archival and age-tested materials is preferable whenever possible, even if the mount is intended for short-term use. It is very common to find such mounts repurposed for long-term storage, unintentionally exposing the art to deteriorating materials and off-gassing. For this reason, conservators recommend using tested and stable materials in contact with all artwork, even in short-term situations. Metal or other reactive materials are coated and padded in areas where they will come into direct contact with the artifact.
Mountmaking is a specialized field and is often done by those with a background in metalworking or other related skills, in collaboration with conservators. Although some mounts (such as brass t-mounts) may be constructed according to a template, in most cases a good mount will require a custom fitting in the final stages. If a great deal of intervention with the object is needed, conservators may fabricate part or all of the mount themselves. 
===Magnet Mounts===
Magnet Mounts are sometimes useful for conservation displays. The rare earth magnets with very strong attraction can provide support for lightweight objects such as paper or textiles. Such mounts require special construction for safe use around artworks, but offer flexibility in use.
 
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Opalines, Opaltypes, Opalotypes

Page Information	Page Information
Date initiated 	January 2012
Contributors 	Luisa Casella
__TOC__
==Opalines, Opaltypes, Opalotypes==
The opaltype is a positive photographic image on milk glass commonly with applied color.
=== Historical Facts===
Invented/ Patented: Joseph Glover and John Bold the Younger in 1857, BP No. 501. The patent covered the use of "Enameled glass, minerals or other suitable substances" that were washed first in fluoric acid to etch the surface and prepare it receive "the collodion or other sensitive substance", and exposed through a negative. They described how the finished image could be tinted with "water colors, oil colors, dry colors and varnish colors" (Whitman, 2007).
Main Period of Use: 1860 to 1940s (Whitman, 2007). According to Whitman (2007, pp.26) "The term opaltype became common for the process in mid 1860, although some variations in the process and nomenclature were introduced. In 1864, the British Journal of Photography reported experiments by Frederick Augustus Wenderoth, which involved the application of albumen chloride binder to ground pot-opal glass. Wenderoth called his process the Toovytype. The same article also mentions a William Helsby and his collodion iodide variant called, the Helioartistotypia, patented in 1865xlix (BP No. 12)."
=== Identification Characteristics ===
Image layer: Albumen, collodion or carbon transfer with applied color (described in patents as "water colors, oil colors, dry colors and varnish colors"
Color: Image layer is monochrome with applied color
Support: Milk glass
=== Process Overview===
The process described in the patent is that a support - "enameled glass, minerals or other suitable mineral substances" - were washed with fluoric acid to etch the surface and prepare to receive the light sensitive layer (could be collodion, albumen or carbon transfer). Other variations of the process included grinding the surface with fine emery powder or applying a matte varnish. The plate was exposed through a negative, process and the color was applied. Opaltypes are often housed in brass frames.
=== Conservation and Treatment===
See also Preservation of Glass in Photographic Materials
*Broken glass supports may be repaired with 30-40% Paraloid B-72 in acetone : ethanol ( 90% acetone: 10 % ethanol)
*Whitman describes consolidating flaking gelatin emulsion with 5% Paraloid B-72 in toluene (Whitman, 2007. pp.84)
=== Housing and Storage===
Opaltype housing and storage should follow with guidelines for glass supported photographs.
=== Emergency Recovery===
=== References===
*Whitman, Katherine. 2007. The History and Conservation of Glass Supported Photographs. 
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Category:Photographic Materials
Category: Photographic Processes
Optical Media

=History=
An explanation of the history of optical discs can be found on Wikipedia’s optical disc page.http://en.wikipedia.org/wiki/Optical_disc 
=Technical Details=
The term 'optical disk' describes a range of disk types where the stored information is read by a laser.
There are three main types of optical disk:
CD-ROM, (read-only memory) and DVD-ROM disks contain information that cannot be changed or added to by the user. On ROM disks, data is moulded as pits in the polycarbonate layer. A top metal layer usually aluminium, silver or gold reflects the laser.
CD-R (recordable) disks are blank when sold. While a region of the disk can only be recorded once, additional files can be recorded in different regions until the disc space is filled. Recordable disks use a photosensitive dye layer sandwiched between the polycarbonate and metal layers to capture and store data. Recording onto the disks requires dedicated hardware and software.
Rewritable optical disks, (CD-RW and DVD-RW) allow the user to record information on a disk, erase it, and replace it with new data. Rewritable disks have a phase-changing film between the polycarbonate and metal layers. To erase and rewrite data, the laser beam heats the film, changing its light transmission properties. They are used when information is being regularly revised, edited or updated. CD-RW disks also require dedicated hardware and software.
DVDs have a composite construction with the data stored between two layers of polycarbonate in the centre of the disk.© Commonwealth of Australia (National Archives of Australia) 2013.
=Conservation Practices=
Optical media suffers from the inherent vice of disc rot, which is the result of chemical and/or physical deterioration of the disc media. Compact discs can also be subject to "bronzing", which happens when the protective "outer coating of the CD erodes, leaving a silver layer exposed"Sydell, Laura. 2014. "How Long Do CDs Last? It Depends, But Definitely Not Forever". National Public Radio, August 18.which then is subject to tarnishing.
=References=
This article uses information from The National Archives of Australia website which is released under the Creative Commons Attribution 3.0 Australia License. 
Category:audio Preservation
Category: Time-Based Media
Category: Digital Preservation
Organic

This page is under construction
Organic materials are made from living things. Aristotle divided living things between plants, which generally do not move or have sensory organs, and animals. Later these became known as the Kingdoms Plantae and Animalia. 
If the source is a plant, the primary constituent is cellulose. If the source is an animal, the primary constituent is a protein. Cellulosic and proteinaceous materials represent the complete range of organic materials found in our museums.
:::1. Plant-based (Cellulosic)
::::a. Wood
:::::i. bark
:::::ii. bark cloth (Tapa)
::::b. Baskets
:::::i. bark
:::::ii. grass
:::::iii. split wood
:::::iv. root
:::::v. leaf
::::::a. corn husk bags
::::c. Cellulosic Textile
::::::i. cotton
::::::ii. linen
::::d. Other Fibers
::::e. Plastic (Polymers and Elastomers)
:::::i. Polymeric Textiles
::::::a. nylon
::::::b. polyester
::::::c. polyethylene (polarfleece?)
:::::ii. Rubber
:::::iii. PVC
:::::iv. Polyethylene
:::::v. Polypropylene
:::::vi. Polycarbonate
:::::vii. PET
:::::viii. Bakelite
::::f. Non-cellular natural organic materials
:::::i. amber and other resins
:::::ii. wax,
:::::iii. coal and jet,
:::::iv.latex,
:::::v. pitch,
:::::vi. Urushi lacquer
:::2. Animal-based
::::a. Proteinaceous
:::::i.Leather and Skin
::::::a. Rawhide
::::::b. Parchment
::::::c. Gut
::::::d. Semi-tanned (alum tawed)
::::::e. Fully Tanned (tanins)
::::::f. Chrome and other Metal Tans
::::b. Keritanaceous
:::::i. Fur and Hair
:::::ii. Proteinaceous Textile (wool,silk)
:::::iii. Baleen
:::::iv. Feathers and Quills
:::::v. Tortoise Shell
::::c. Teeth, Ivory
::::d. Bone, Antler
::::e. Shell (calcareous-based)
Organic Materials

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ORGANIC MATERIALS
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==Organic Materials==
Organic materials are defined in modern chemistry as carbon-based compounds, originally derived from living organisms but now including lab-synthesized versions as well. Most are combinations of a few of the lightest elements, particularly hydrogen, carbon, nitrogen, and oxygen. Organic materials include the wood from which furniture is made, feathers, leather, and synthetic materials such as petroleum-based plastics. In spite of this variety they share some general characteristics. For example, many organic materials undergo fading, yellowing, or embrittlement in response to prolonged exposure to light or other forms of radiation, caused by breakdown of the covalent bonding structure shared by many carbon-containing compounds.
Organic materials are further divided into three categories based on their source. Many conservation decisions are based on understanding the different structures and behaviors of these forms:
Cellulosic Materials. Plant materials are – or were – living matter made of cellulose and lignin. Examples include grass, wood, roots, bark, leaves, even flowers. There are approximately 350,000 species of plants in existence. As of 2004, roughly 288,000 have been identified, including almost 259,000 flowering species. The variety of material that has been used for cultural heritage objects almost matches the number of plants available.
Asian lacquer is another organic material, derived from plant sources.
Proteinaceous materials have an animal origin. An astonishing array of animal-based materials have been manipulated by man, for use in tools, decorative objects and fine art. Common categories include Leather and Skin, parchment, gut, hides, fur and hair, wool and silk, feathers and quills, baleen, and tortoiseshell. Ivory, bone, antler, and shell may also contain protein components.
Organic Polymers are derived from fossil fuels or other oils. 
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Other Industries

Back to 4.9 Case Studies
Small Corp runs on solar energy - http://www.smallcorp.com/greeninitiatives.html
Other professions have taken on challenges incorporating sustainable practices into their work and standards. Conservation seems most connected and affected by the standards set by the building industry and the Leadership in Energy and Environmental Design by the United States Green Building Certification. Most specifically are the new standards set by ASHRAE 189.1 that include museum environments. The standards set by LEED are often controversial, with strong belief that it doesn't go far enough. Lstiburek 2008, Gifford 
Joseph W. Lstiburek, "Prioritizing Green: It's the Energy Stupid." Insight. November 2008. www.buldingscience.com. 
Henry Gifford, "A Better Way to Rate Green Buildings." www.henrygifford.com.
Oxidation

The process of introducing a substance or material to oxygen, causing a given chemical reaction. Types of oxidation can include metallic oxidation, which can result in chemical changes such as rusting, and organic oxidation that affects materials such as woods and leathers and some textile fibers (Fine Arts Conservancy, n.d.) 
== Synonyms in English == 
redox (reduction-oxidation) 
=== Translation === 
French 	oxidation
Spanish 	oxidaciόn
Portuguese 	oxidação
Italian 	ossidazione
German 	oxidation
Russian 	окисление
Arabic 	أكسدة
Chinese (Traditional)	氧化
==Discussion==
A material is oxidized when it is attacked by oxygen, resulting in a change or a reduction. Different materials oxidize in different manners. For example, photo oxidation can result in fading, or the molecular structure of the paper fibers themselves can be changed resulting in degradation of the object.
Oxidation can also occur in certain types of painting, depending upon how the painting is mounted in a frame. Oxidation in this manner is often set off by frame abrasions, where the frame is directly touching the paint on the canvas. This causes the frame to abrade through the paint and oxygen to get between the paint and the canvas, resulting in flaking and peeling (Fine Arts Conservancy,n.d.).
==References==
The Fine Arts Conservancy Glossary, Art and PaintingRestoration Terms - Art-Conservation.org. (n.d.). Retrieved fromhttp://www.art-conservation.org/GLOSS_Paint.htm
List of Lexicon Terms
Category:Lexicon
Category: Process Terms
Category:Damage
Category:Oxidation
PH

Contributors: Sophie Carman
__NOTOC__
pH is the measure of hydrogen ions (H+) in an aqueous solution. A solution can be categorized as acidic or basic based on the pH.
==Related Terms==
acidity, basicity
=== Synonyms in English ===
=== Translation ===
English 	pH
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Russian 	
Arabic 	
Chinese (Traditional)	酸鹼度
==Discussion==
The categorization of the pH of a material is based off of a logarithmic pH scale, which labels a material with a pH between 0 and 14 (Museum of Fine Arts Boston). A pH of 7 is considered to be neutral and is exemplified by pure water. Any solution with a pH less than 7 is categorized as acidic, such as hydrochloric acid or citric acid (Getty: Acidity). As the pH approaches zero, the acidity greatly increases. On the other hand, a pH greater than 7 is categorized as basic or alkaline, such as sodium hydroxide (Getty: Alkalinity). As the pH approaches 14, the acidity greatly increases. Electronic devices and simple pH strips are methods of testing the pH of a solution.
The stability and preservation of a material can be dependent on the pH of the depositional environment (Cronyn 1990). Generally, areas of high rainfall and low evaporation create acidic environments, whereas semi-arid areas are more prone to be basic environments. In order to promote preservation, the depositional environment of an object should be consistent with that of the environment during its use. Any change in environmental pH can lead to numerous degradation processes of an object, including hydrolysis, crystallization, or corrosion. 
==References==
 “Acidity.” Getty. Accessed April 1st, 2014. http://www.getty.edu/vow/AATServlet?english=N&find=acidity&logic=AND&page=1¬e=
 “Alkalinity.” Getty. Accessed April 1st, 2014. http://www.getty.edu/vow/AATServlet?english=N&find=alkalinity&logic=AND&page=1¬e=
 Cronyn, J. M. 1990. The Elements of Archaeological Conservation. London: Routledge.
 “pH.” Museum of Fine Arts Boston. Accessed April 1st, 2014. http://cameo.mfa.org/wiki/PH
Category:Lexicon
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