nyuuzyou/wikis huggingface dataset:
Bookblocks

All the leaves bound together in a single volume and enclosed within a single binding. Bookblocks will normally consist of a textblock (including inserted plates, maps, tables etc.) with interleaving (where present) and separate endleaves. Even if there are no endleaves, the term bookblock can still be used to describe the leaves within a single binding. The word textblock describes all the printed or written leaves whether they are bound or not, and can be used to differentiate the written or printed leaves from the endleaves within a bookblock where this is necessary.http://www.ligatus.org.uk/lob/concept/1227
Category:Lexicon
Category:Book Conservation Terms
Bridge Microscope Images

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thumbnail|left|Image 2: Attempting to get a stereomicroscope, on a boom stand, into the middle of a large map. This required that the map be rolled at one end under the boom arm.
thumbnail|center|Image 3: Leica® S6D on a Unitron® Articulating (Flex Arm).
thumbnail|left|Image 4: Shows bubble level on top of microscope at shortest extension.
thumbnail|center|Image 5: Shows bubble level on top of microscope at full extension.
thumbnail|left|Image 6: Glide Gear® DEV 470 Camera Track Slider 47”.
*Image Retrieved from Amazon©
thumbnail|center|Image 7: The bottom of a used Nikon® vertical post and focus block that was used for this paper.
thumbnail|left|Image 8: Leica® Mz7s stereomicroscope mounted on adapted Glide Gear® Camera Slider with a used Nikon® focus mechanism.
thumbnail|center|Image 9: Leica® S6D stereomicroscope mounted on adapted Glide Gear® Camera Slider with a used Nikon® focus mechanism.
thumbnail|left|Image 10: Sled for Glide Gear® Camera Slider
thumbnail|center|Image 13: Adjustable threaded leveling leg.
thumbnail|left|Image 14: Expand the mounting hole in the sled from ¼” to 3/8” using a drill and insert the new 3/8” mounting screw for the post.
thumbnail|center|Image 15: Expand the mounting hole in the sled from ¼” to 3/8” using a drill and insert the new 3/8” mounting screw for the post.
thumbnail|left|Image 16: Bottom of the track on the left and ¼” aluminum bar on the left.
thumbnail|center|Image 17: Drilling ¼” hole that lines up with threaded hole in the track.
thumbnail|left|Image 18: Mount additional ¼” bar to the bottom of the track using ¼” screws.
thumbnail|center|Image 19: Bottom of track with additional bar screwed in.
thumbnail|left|Image 20: Detachable legs with additional aluminum tubing for extension.
thumbnail|center|Image 21: Close up of the bottom of the aluminum tubing after mounting holes are drilled for screws.
thumbnail|left|Image 22: Aluminum tubing mounted into the bottom of the detachable legs and installed back onto the track.
Bromoil, Oil-Pigment

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Bromoil, Oil Pigment Print==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Buckling

Contributors: Melissa Price, Caroline Roberts
__NOTOC__
Buckling takes place when a structure has given away due to stress or great amounts of pressure. It also describes the uneven surface or rippling effect occurring on a material, such as canvas or paper.
==Related Terms==
=== Synonyms in English ===
distort, bend, crumple, twist, collapse, bulge, yield, warp, sag
=== Translation ===
English 	buckling
French 	flambage
Spanish 	el pandeo
Portuguese 	flambagem
Italian 	instabilità
German 	Knick
Russian 	
Arabic 	
Chinese (Traditional)	皺曲
==Discussion==
Buckling takes place on a variety of materials and surfaces including walls, stone, wood, paper, paintings, and photographs. In the case of walls in older buildings, buckling is common when wall height is too great for its proportional thickness. Bowing and buckling can be seen in marble gravestones and architectural cladding (Vergès-Belmin 2008). Wood floors are also apt buckling under too much weight, as is also common in older buildings (Beckmann and Bowles 2004). Buckling occurs quite frequently in paintings and photographs. This is evidenced by a rippled or uneven surface on the material. Changes in humidity or moisture content usually cause buckling in this instance. Evening out buckling of paintings can be done with humidification treatment as well as application of heat or pressure (Hammer Art Conservation). Buckling is also a common issue when working with paper (Kiely 1927). Paper expands and contracts when there are changes in temperature and humidity (Fremstad 2003). Absorbing and losing moisture weakens the structure and bends it out of shape. To control or prevent buckling, keep objects at an appropriate relative humidity (Mecklenburg et al. 1998).
==References==
 Beckmann, Poul and Robert Bowles. 2004. Structural Aspects of Building Conservation. Oxford: Elsevier
 Fremstad, Greg. 2003. Why Paper Art Buckles in a Frame. Fremtek Incorporated. http://www.frametek.com/HTML/Articles/Buckling.html (accessed 04/27/14).
 Hammer Art Conservation. Art Conservation. http://www.hammerartconservation.com/conservation.html (accessed 04/27/14).
 Kiely, Helen U. 1927. The Effect of Moisture on Paper. American Writing Paper Company. http://cool.conservation-us.org/byauth/kiely/moisture.html (accessed 04/27/14).
 Mecklenburg, Marion F., Charles S. Tumosa, and David Erhardt. 1998. Structural Response of Painted Wood Surfaces to Changes in Ambient Relative Humidity. In: Painted wood: history and conservation (Part 6: Scientific Research). The Getty Conservation Institute: 464-483. http://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/paintedwood6.pdf (accessed 04/27/14).
 Vergès-Belmin, V., ed. 2008. Illustrated glossary on stone deterioration patterns. English-French ed., Monuments & Sites no. 15. Paris: ICOMOS and (ISCS) International Scientific Committee for Stone. http://www.icomos.org/publications/monuments_and_sites/15/pdf/Monuments_and_Sites_15_ISCS_Glossary_Stone.pdf 
Category:Lexicon
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Burnishing

Contributors: Lawrence Houston
__NOTOC__
Burnishing is a process by which the surface of the paper is rendered less fibrous and spongy in appearance. This is accomplished by means of pressure applied by rubbing sized paper. This can be accomplished by machines, but was historically done by hand. Dry sheets of sized paper are placed on a flat surface and pressure is applied by rubbing a smooth, hard object across the surface of the paper. Typical objects that are used for burnishing include agate, glass, bone, and horn. Burnished paper is typically used for manuscripts or stationary work, where bleeding inks are a concern. 
==Related Terms==
Calendared, Burnisher, Ahar
=== Synonyms in English ===
=== Translation ===
English 	burnishing
French 	brunir
Spanish 	
Portuguese 	brunir
Italian 	
German 	
Russian 	
Arabic 	
Chinese (Traditional)	砑光/磨光
==Discussion==
Similar to calendaring, burnishing tries to decrease the absorbency of paper to provide for better print quality and for manuscript paper. Heavily burnished paper can take longer to moisten when undergoing aqueous treatments and such treatments can be deleterious to the finish that the burnishing process provides.
The compressive forces exerted during the burnishing process reduces the thickness of the paper, and ink typically stays on the surface of the paper. Burnishing tends to obscure watermarks. It also lessens or distorts the appearance of the laid and chain lines of mould made papers. Heavily burnished paper, dyed with saffron, is common with Islamic paper manuscripts and miniatures.
Sizing of the paper normally involves a bath or brushing on of one of the following constituents: plant gums, egg ahar (egg whites mixed with water and alum), gelatin, and dilute wheat starch paste.
Burnishing of paper is historically linked to the burnishing of papyrus, used to enhance its cosmetic appeal and also to render it more useful for writing. The process of burnishing papyrus is even discussed by Pliny in his Natural History (Naturalis Historia).
Improper burnishing can cause defects due to the intense pressure and dimensional changes effected locally in the cellulose fibers. The most frequent is cockling, caused by a non-uniform expansion of the paper as it is flattened. Metal burnishers can offset oxidation and abrasion products onto the paper and contribute to foxing or other aesthetic defects. Very intense pressure in localized areas of the paper can even cause it to gain a degree of translucency.
==References==
Pandey, Radha., 2012. Talk given to the Friends of Dard Hunter and International Association of Hand Papermakers and Paper Artists (IAPMA) on the traditional Indian papermakers.
Pliny. Translated by Rackham, H., 2005. Natural History. Book XII. Section XXV. Loeb Classical Library. Cambridge, Massachusetts. 
Category:Lexicon
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Calendered

Contributors: Lawrence Houston
__NOTOC__
Calendering is the process by which the surface of the paper is rendered less fibrous and spongy in appearance. This is accomplished by means of pressure applied to the paper at the end of its manufacturing process. In paper making machinery, this is normally carried out by chilled, smooth iron rolls at the dry end of the paper making process. In handmade paper, calendering is often accomplished by sandwiching the paper between steel plates and applying pressure with weights or in a hydraulic press. In some processes of calendering, the paper may be dry or dampened and the steel is heated or chilled in order to achieve the desired effects. Calendered finishes range from the slightly toothier machine finish, to English finish, and lastly to the highly glossy supercalendered finish. Heavily calendered paper was often used in stationary bindings, as the glossy surface finish prevents inks from bleeding. 
==Related Terms==
Calendered cloth, supercalender, calender
=== Synonyms in English ===
=== Translation ===
English 	Calendered
French 	Calandré(e)
Spanish 	el Calendrado
Portuguese 	calandrado
Italian 	Calandra,Calandratura
German 	Kalandrieren
Arabic 	
Chinese (Traditional)	壓光
==Discussion==
Similar to sizing or burnishing, calendaring tries to decrease the absorbency of paper to provide for better print quality and for manuscript paper. Heavily calendered paper can take longer to moisten when undergoing aqueous treatments and such treatments can be deleterious to the finish that the calendering process provides.
The compressive forces exerted during calendering reduces the thickness of the paper, and calendered paper can end up with a density that is 50% greater than untreated sheets. Improper calendering during the manufacturing process can cause defects due to the intense pressure and dimensional changes effected in the cellulose fibers. Banding from areas of different moisture content can appear, as can wrinkles from improper tension during rolling. The metal rolls, being iron, can offset oxidation and abrasion products onto the paper and contribute to foxing or other aesthetic defects. If moist paper is pressed with too high of a nip load in the calendering process, reduced opacity or ‘calender blackening’ can occur. 
Calendering typically results in a slight to moderate loss to the burst, tensile, and tear strength of paper along with a reduced stiffness. However, it can occasionally impart a moderate improvement in fold endurance. The loss of strength from calendering is considered to be due to a lower bonding strength.
==References==
Charles, L. A., and Waterhouse, J. F., 1987. The Effect of Supercalendering on the Strength Properties of Paper. Appleton: Institute of Paper Chemistry.
Burnett, R., 2003. “The nature of strength reduction when newsprint is calendered,” TAPPI Journal, Mrach 2003, Vol. 2(3). 
Etherington, Don., and Roberts, Matt T., 1982. Bookbinding and the Conservation of Books. Washington: Library of Congress.
Category:Lexicon
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Calibration of Dataloggers Using Saturated Salt Solutions

Calibration of Dataloggers Using Saturated Salt Solutions
== Introduction ==
Relative Humidity (RH) sensors can drift over time and have a limited lifetime. It is very important that the accuracy of RH sensors be checked on a regular basis. Since datalogger manufacturers charge significant fees for recalibration it is cost effective to be able to check them yourself before sending them in for servicing. 
This article provides guidance on setting up calibration salt chambers that are an easy and inexpensive way to check loggers when they first arrive after purchase to make sure they are functioning properly before they are used, as well as to check calibration over time. The chambers are reported to have limited accuracy but if you run several dataloggers and logger types at once for cross comparison, they can be a reliable tool. 
Lithium Chloride (LiCl), Magnesium Chloride (MgCl) and Sodium Chloride (NaCl) which each hold a different RH are used in the chambers. Conducting a three point calibration ensures that a logger is accurate across its entire measurement range.
Salt	
RH for a saturated solution
Lithium Chloride	
11%
Magnesium Chloride	
33%
Sodium Chloride	
75%
== General Procedure ==
 
Figure 1. Saturated salt solutions that hold specific RH levels are placed in small well sealed plastic containers. The lids of the containers are fitted with a Gortex window that allows vapor exchange but prevents liquid spills and salt migration.
 
Figure 2.This small container is then placed in a larger container that can hold several loggers.
The RH of salt solutions can be affected by temperature fluctuations so it is best if the temperature is as constant as possible. Try placing the chambers in a gasketed cabinet in a climate controlled store room.
 
Figure 3. The loggers, set to take readings every two minutes, are placed sequentially in each chamber for two-three days, moving from low to high RH. 
At the end of the monitoring period the data is downloaded and any which show values outside the expected range of accuracy are sent back for refund or recalibration as necessary.
== Supplies ==
:*Polypropylene containers – widely available at home and kitchen stores or online
:*Goretex or Sympatex non-permeable fabrics – Talas (www.talasonline.com) 
:*Salts - – widely available from scientific suppliers
:*Glass dishes – widely available from scientific suppliers
==Contributors==
Samantha Alderson
Conservator
American Museum of Natural History
Anthropology Department Conservation Lab
Rachel Perkins Arenstein
Conservator
A.M. Art Conservation LLC
Carbro

__NOTOC__
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Photographic Materials Conservation Catalog 
Photographic Processes
Date: Initiated ....
Contributors:
The Photographic Materials Conservation Catalog is created and maintained by the Photographic Materials Group of the American Institute for Conservation for the convenience of the membership. The treatments, methods, or techniques described herein are provided for informational purposes. The reader assumes responsibility for any application results or interpretation of information.
==Carbro Prints==
Historical Facts
thumb| Caption
Text
Identification Characteristics
thumb| Caption
Image layer: Text
Color: Text
Support: Text 
Material description: 
Text
 Process Chemistry
Text
Procedure
Text
Condition
Text
Conservation
Text
Concerns and limitations in treatment:
Text
Housing and Storage Considerations
Housing:
Tex
Storage:
Text
Exhibition and lighting:
Text
Emergency Recovery
Text
REFERENCES
Conservation
* 
Process and Historic Material 
* 
Contemporary Practice
* 
*
Category:Photographic Materials
Category: Photographic Processes
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Carbro, Ozotype, Anthrakotype, Ozobrome

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Carbro, Ozotype, Anthrakotype, Ozobrome==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Career Growth

Navigate back to Emerging Conservation Professionals > Getting Out on Your Own > Career Growth
== Introduction ==
In the ECPN Webinar Beyond the Portfolio: Your Conservation Career, Conservator Suzanne Davis offered advice on applying for fellowships and jobs, developing your career after graduate school, and negotiating salary. 
		
== Finding Opportunities ==
The Wiki page on Internships and Fellowships has an overview of how to find employment and training opportunities. This includes a list of websites and email listservs where positions are posted.
== Negotiating Compensation ==
It is important to understand the complete compensation package for an employment opportunity, as well as the potential for advancement (e.g. position title and salary increases may be regulated by the institution). Compensation includes monetary and non-monetary components, such as salary and bonuses; vacation, sick leave and holidays; health insurance; and other benefits, such as access to or discounts on specific services, contributions to retirement funds, parking and transit, financial support for professional development opportunities, etc. Some components of a compensation package may be negotiable, while others are standardized across an institution and non-negotiable.
The overview report of FAIC’s 2014 Compensation Research is a useful resource for emerging professionals who are searching for employment opportunities or entering salary negotiations. Since 2015, the ECPN Officers have been compiling and generating ECPN Compensation Spreadsheets on fellowships and internships to supplement the FAIC's research survey. The purpose of collecting this data is two-fold: to increase transparency about typical fellowship/internship earnings and to provide a useful resource for early-career professionals.
Other ECPN initiatives include the "Making the Ask: Developing Negotiation Tactics in the Field of Conservation" workshop, "Professional Advocacy through Museum Unionization" webinars coordinated in partnership with the Philadelphia Area Conservation Association (PACA), and "Your Conservation Career: Negotiating Your Next Salary" blogpost by Suzanne Davis.
== Additional Resources ==
The ICON blogpost "Things I Wish I Knew in My First Year as a Conservator" by Leanne Tonkin includes a personal perspective and lessons learned in the first few years out of graduate school. For additional reflections on this topic, check out ECPN's article "Changing Horizons: Observations from Emerging Conservation Professionals," found in the Introduction section of the Getting Started in Your Career page.
Category:Diversity, Equity, Inclusion and Accessibility
Case study example

Author: 
Institution:
Case Studies
* V-shaped book scanner:
** The purpose of the book scanner is to digitize the pages of the book and not necessarily the book as an object itself. The V-shaped cradle ensures correct support for books during digitization The opening angle of a book is never exceeded or causes damage.
** The advantage of a dual camera system is that you are able to capture the right and left page at the same time. With a single camera system you have to repeat the digitization process again, thereby doubling the strain on the object.
** The position of the book constantly changes when going through it. That is why the cradle is adjustable in height. It is important to ensure that the pages are always at the same height when capturing. That way you ensure a consistent representation of the pages. A glass plate helps with that. It flattens the pages and functions as an indicator of height. By changing the height you also ensure the pages are in focus. Lasers are also used to indicate the right position for the page in some systems.
** There can be some disadvantages to these kinds of systems. They sometimes have built-in lighting systems. These can be limited in their adjustability and cause unevenness in the illumination. Also the glass plate influences the colour rendering. These factors should be taken into consideration when determining the desired benchmark beforehand and during the calibration.
V-shaped bookscanner (Qidenus), KU Leuven. Imaging lab, CC BY SA
Chalking

__NOTOC__
Chalking is when a powdery, dry residue forms on the surface of an object composed of paint or plastic as a result of degradation (Getty 2013). The presence of a loose powder found on the surface of the art can be due to exposure to the elements as well (MCI 2014). Chalking is also due to the aging of the binding media- this results in the altered appearance of pigments and surface texture as the pigment and surface break down (Timar-Balazsy et al. 1999). Chalking is also a term used to describe the granular disintegration of finely grained stones (Vergès-Belmin 2008).
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	chalking
French 	farinage
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	粉化
==Discussion==
This occurs when parts of the paint pigment or plastic begin to deteriorate, most commonly due to exposure to air or the elements (Smithsonian Museum Conservation Institute). Another common cause of chalking in paintings is that the original binder in the paint was deficient (Museum of Fine Arts Boston 2013). 
==Further Reading==
*See WHITE SURFACE HAZES
*"Clarifying the Haze" by Eugena Ordonez and John Twilley
==References==
 "Chalking." Getty. Last modified July 15, 2013. http://www.getty.edu/vow/AATFullDisplay?find=chalking&logic=AND¬e=&english=N&prev_page=1&subjectid=300386687
 "Chalking." Museum of Fine Arts Boston. Last modified July 24, 2013. http://cameo.mfa.org/wiki/Chalking 
 "Painting Conservation Glossary of Terms." Smithsonian Museum Conservation Institute. Accessed March 24, 2014. http://www.si.edu/mci/english/learn_more/taking_care/painting_glossary.html
 Vergès-Belmin, V., ed. 2008. Illustrated glossary on stone deterioration patterns. English-French ed., Monuments & Sites no. 15. Paris: ICOMOS and (ISCS) International Scientific Committee for Stone. http://www.icomos.org/publications/monuments_and_sites/15/pdf/Monuments_and_Sites_15_ISCS_Glossary_Stone.pdf 
 Timar-Balazsy, A. and D. Eastop. 1999. Chemical Principles of Textile Conservation. Oxford: Butterworth-Heinemann, 126.
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Category:Lexicon