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Control of relative humidity (RH) for collections care is challenging in U.K. historic houses because they are often highly ventilated with poor heat retention, a porous building fabric and naturally tend to high (60-80%) RH if unheated. The significance of the building means that large-scale modifications and installation of air handling systems may be unfeasible and undesirable for the conservation of the building. In the late 1980s the National Trust, for English, Wales and Northern Ireland, investigated conservation heating as an RH control method that works with the natural environment of historic buildings, mimicking historic heating and requiring only modification of existing heating services or a light touch installation of new heating systems. The National Trust adopted conservation heating as its preferred method for environmental control in historic buildings from the 1990s. This method was presented at the IIC 1994 Ottawa congress on preventive conservation. Conservation heating has since been adopted by many historic house management organisations, particularly across north-west Europe, where it is well suited to the climate. This paper reviews conservation heating developments implemented by the National Trust since 1994, in response to a changing external context, new knowledge and developments in operational practice. [ABSTRACT FROM AUTHOR]

This paper sets out the role of the International Institute for Conservation of Historic and Artistic Works (IIC) in facilitating the current international debate on the selection of appropriate environmental conditions for collections to optimise their future condition while minimising energy consumption. It looks back 35 years to when Garry Thomson first published The Museum Environment and forward 35 years to demonstrate how IIC can care for the future as well as care for the past. It asks whether we are posing the right questions in this debate, draws attention to leadership in the cultural sector, and suggests that more conservation professionals should aspire to leadership positions directing museums and heritage organisations. [ABSTRACT FROM AUTHOR]

Decorative art collections which remain in the places for which they were made, bought, or collected can illuminate the past by showing how objects were used. This paper explores how managers and collections care staff can establish levels of visitor access and object use which enhance the visitor experience. Conservation management plans are used to determine the significance of historic places and distinguish between their relative sensitivities. By contrast, conservation of collections tends to treat all objects as of equal significance and vulnerability to change while conservators aim to make all objects last 'forever'. The National Trust, UK, now accepts that conservation is the careful management of change. Materials have a finite life-time, and places will evolve, but experiences can be preserved. This approach depends on an ability to distinguish between robust and fragile materials, between furnishings indigenous to each property, and those brought in to supplement displays; the latter can be used more intensively to 'bring places to life'. The pleasure which visitors derive from the use of collections enhances their appreciation of museums, and in turn creates a virtuous circle where visitor numbers and income increase. Museums may have to stop exercising the precautionary principle in order to become more sustainable organizations. [ABSTRACT FROM AUTHOR]

This paper explores how the concepts of the slow movements can be applied to conservation. It examines the roots of preventive conservation, the relationship between the museum environment and the global environment and ways in which museums can reduce their environmental footprint. Links are made between sustainability and traditional conservation practices from different countries and periods. It is proposed that the long-term sustainability of museums depends on the value that the public place on them, and this can be built through the engagement of trainees, volunteers and the public through conservation. The impact of international loan exhibitions in driving common environmental specifications which reflect international standards rather than tile local climate and tile energy consumption that is involved in achieving these conditions is discussed. Finally, a manifesto for slow conservation is proposed. [ABSTRACT FROM AUTHOR]

In the UK, the National Trust’s portfolio of properties is owned for the benefit of the nation. The benefit is the promotion of access to the properties, while preserving them for the future. Collections are one element of this portfolio, and they can excite the support needed to ensure our properties’ future. However, resources are limited and the costs of access can be seen to increase the costs of conservation. How can we justify this, when choosing between treating collections and repairing buildings, gardens and landscape? This paper discusses the place of access in the Trust’s strategy, how we prioritize through the Conservation Performance Indicator and the Collections Conservation Prioritisation process, and how access is factored into these processes. A Triple Bottom Line approach enables evaluation of both conservation and social benefits, such as access, as well as financial costs, so one activity generates several objectives with sustainable outcomes. This approach demonstrates how collections conservation is adapting to the changing cultural heritage environment. [ABSTRACT FROM AUTHOR]

Museum standards for preserving cultural material need to be interpreted sensitively if they are to ensure sustainable access to fragile historic house interiors, presented as homes still in occupation. High standards of preventive conservation can be achieved by adapting traditional housekeeping practices, recorded in eighteenth- and nineteenth-century manuals. Conservators have revived methods to protect collections from physical damage, biological infestations, pollution, light, and inappropriate levels of temperature and relative humidity. To ensure that vulnerable collections are properly maintained, conservators equip historic house managers with an understanding of preventive conservation and technical information to aid monitoring and documentation, staff training and management. In conclusion, the paper emphasizes the need to establish a sustainable balance between conservation and access. [ABSTRACT FROM AUTHOR]

Metamerism may occur if modern substitutes for traditional artists' pigments are used when restoring a painting. Retouchings which match in the daylight of the restorer's studio may become visible when the painting is viewed in different lighting conditions or is photographed. In practice the matching of blue pigments has proved to be particularly difficult. Metamerism can be avoided by selecting modern substitutes with similar spectral reflectance curves to the traditional pigments. It is shown that manganese blue is the most suitable modern pigment for matching azurite and French ultramarine for matching genuine ultramarine, and that it is inadvisable to try matching Prussian blue with French ultramarine, cobalt blue or cerulean blue. Pigments are also recommended for matching smalt and indigo provided these pigments have not undergone a degenerative colour change. [ABSTRACT FROM AUTHOR]

A foreword to "Studies in Conservation" periodical featuring heritage management is presented.

An introduction is presented which discusses various papers within the issue selected from the International Institute for Conservation of Historic and Artistic Works' 26th Biennial Congress held in Los Angeles, California.

The article presents an obituary for the conservator Garry Thomson.

An introduction is presented in which the editor discusses various reports within the issue on topics including the significance of objects of East Asian art and heritage, the biennial exhibition "An Unbroken History: Conserving East Asian Works of Art and Heritage" and the environmental standards for the safekeeping of cultural heritage objects/

The article examines the restoration of the North Gallery at Petworth, a 17th-century country house in West Sussex, England, focusing on daylight control efforts in the design. Information is provided on the reinstallation of skylights similar to those constructed in 1839-1843 and the author goes on to describe how lanterns, sun-blinds and black-out blinds were used to control light.