Syllabus

I. Prerequisites/ General Information

A. Overview of laboratory work/expectations of division

Tour of Biltmore House, with tape and book (must read)

BTS tour

B. Time factors and obligations

Work day 8:30am to 4:30pm (may be adjusted to need)

1 Hour lunch break

Coffee break is as needed, try not to take an hour lunch if

you've had a coffee break.

C. Personal goals - in writing

II. Tapestry Conservation (majority of time)

A. Documentation - training

1. Written, pre and post treatment reports

2. Photographic

B. Techniques, tools.

1. Stitching sampler

2. Practice tapestry Specific consolidation stitching techniques:

a. slits

b. reweaving--wool

c. reweaving--silk

d. interlocking, choices variations

C. Observation of conservators working on tapestries

III. Exposure to Curatorial Responsibilities

A. Collection management/maintenance

B. Cataloguing

C. Storage

IV. Textile Conservation

A. Biltmore House Collections

1. Display needs - i.e. vacuuming tapestries

2. Wet cleaning

V. Education

A. Personal journal

B. Reading list of Articles:

1. Nobuko Kajitani, "Care of Fabrics in the Museum"

2. AIC Code of Ethics

3. Conservation Materials' "The Chemical Theory of Degradation"

4. Mr. William A.V. Cecil's "The Business of Preservation"

5. Richard D. Buck, "What is Condition in a Work of Art?"

6. Arthur W. Schultz, "We Can Do More Than We Think We Can"

7. Nancy Davis, "Handle With Care"

8. Judith S. Kline, "Care and Storage of Textile Heirlooms"

9. Genevieve Souchal, "The Triumph of the Seven Virtues"

10. Guy Delmarcel, "The Triumph of the Seven Virtues and Related Brussels Tapestries of the Early Renaissance"

11. Ella S. Siple, "A Flemish Set of Venus and Vulcan Tapestries"

D. Bibliographies:

1. To be collected:

a. general conservation

b. textile conservation

c. collections care

d. tapestry history

Biltmore House
TEXTILE CONSERVATION PROJECT

Conservation Technician Background Recommendations

I. Basic Art Skills

A. color knowledge

B. materials knowledge and use: charcoal, paint, clay

C. mat cutting and framing knowledge

D. photography knowledge

E. basic sewing skills

F. 2-D, 3-D knowledge

II. Education

A. Art History, History

B. Fine Arts

C. Museology

D. Textile Science

III. Conservation

A. storage principles, environmental considerations

B. exhibition principles and considerations

C. mounting considerations

D. documentation procedures

E. familiarity with literature in the field

IV. Textile Conservation Specifics

A. knowledge of textile and costume history

B. knowledge of textile structures

C. knowledge of costume silhouettes

D. sewing, weaving, dyeing skills

E. pattern making skills (costumes)

F. textile science

G. care and handling of historic and artistic textiles and costumes

H. knowledge of equipment related to textile conservation (i.e. sewing machine, microscope)

I. experience with conservation techniques used on a variety of textiles

J. membership in any of the professional conservation organizations

K. possession of one's own hand tools

L. active interest in improving one's knowledge of textile conservation

M. conservation portfolio or journal

N. public speaking experience

Update: 1/9/1996