Over the many years Masonic bodies throughout the world
have accumulated literally millions of documents in their archives. With
many lodges now surpassing the two hundred year mark, individual
collections have grown to a significant size. While it is true that many
lodges have suffered the ravages of fire thus destroying a potion of their
records, there are also a vast number that have come through the years
with the records intact, for now.
In addition to the archives that
are already in the possession of the lodge, there are those records and
artifacts that are in the hands of individual members. These can range
from aprons and jewels to books, rare documents, scrapbooks and physical
artifacts of historical importance to the fraternity. Over the years
lodges' have lost valuable artifacts and private archives when there has
been no provision in the legal wills of the members providing for the
bequeathing of Masonic related items to their respective lodge. This has
resulted in these various items being sold off, discarded or lost. Every
effort should be made on the part of every lodge to encourage their
members to add a codicil to their wills to insure that these items are
returned to the lodge after their death. What would be even more
preferable is to have the various artifacts and archives turned over to
the lodge prior to the member's death.
The care and preservation
of these records is of paramount importance and a responsibility that
lodges' should not take lightly. Every lodge, no matter what the Grand
jurisdiction, owes a duty to the craft in particular and society in
general, to ensure that their archives are preserved for the benefit of
generations to come. With some basic care archival collections may be
preserved for years of use. This paper has been prepared with that goal in
mind and has been written for the use of Blue Lodges and concordant
bodies, recognizing the limitations of time, money and expertise in the
field of archival management
Prior to entering into the actual
physical care of the lodge archives it is necessary that the appropriate
policies be established by the lodge for the governance of the archives.
The following is a suggested archival policy statement that may be adopted
in full as shown or adjusted to fit the needs of the body in question.
The Archives should normally accept only
material that is specific to Freemasonry and to ______________ lodge in
particular. Materials relating to other Masonic bodies with little or no
reference to ______________ Lodge should not be accepted.
Physical
artifacts (aprons, jewels, etc) will only be accepted into the Archives if
they illustrate particular events, developments or the progress of Lodge
history. Each such artifact should be identified as to date and original
owner (in the case of individuals) or date and circumstances (in the case
of Lodge items). Duplicates of items already in the Archives should not be
accepted.
The Historian (Archivist) may also maintain a Library of
books of Masonic material which may be lent to members for study.
Parts of the ____________ Lodge archives may be deposited with the
_________________ Public Archives for safe keeping and long-term storage.
When so deposited, access to those portions is also restricted as
described above.
Once a policy is in place
to guide the lodge archivist, the next step is to sort and catalogue the
collection. This process has several benefits. First the contents of the
archives are documented, secondly it gives the archivist an opportunity to
sort the archives and remove those items that should not be included in
the collection. It will also provide the chance to identify any documents
that are historically significant and are starting to deteriorate. These
items should receive first priority in the preservation
process.
The purpose in cataloging or recording the contents of the
archives is to provide a written record of the collection as well as to
provide an efficient means of retrieval. There are accepted cataloging
methodologies for archives which may be found in any number of books on
the subject, and the lodge archivist is encouraged to inquire into them.
When developing a recording system there are several important factors
that must be taken into consideration, The first is "Provenance".
Provenance refers to the "office of origin," or the person or body that
created or received the records in the course of lodge or personal
activities. This is also referred to as respect des fonds or respect for
the source or creator. A second rule of archival arrangement is to
preserve or recreate original order: the order and organization in which
the documents were created and/or stored by the creator or office of
origin. Original order is most evident in corporate, institutional, or
government records, where organization and ease of retrieval were
important factors in their creation and use. Private manuscripts and
papers, on the other hand, often show little discernible original order,
items may have been kept in a cupboard or in a box in the basement; their
creator may have found a filing system unnecessary. Consequently, original
order cannot be as inflexible a rule as provenance.
Think carefully
when developing a cataloging system for your archives. The system should
be one that you are comfortable with, that is easy to use and allows for
quick retrieval, remembering that provenance and original order are the
essential building blocks of archival arrangement.
An ideal method
is the use of index cards, and is to be preferred over the use of written
pages for it allows for the insertion of other cards when necessary. Not
every document has to be recorded separately, however, this is where
common sense must prevail. When reviewing a document the question that
must be asked: "is the document being reviewed of historical significance
in the history of the lodge?" If it is then it should be recorded
separately on the reference card noting the name of the originator of the
document, the date, the nature of the document (i.e. a letter to the Grand
Secretary seeking the lodge charter) and a notation referencing other
documents that relate to this one. Some records will be grouped together
such as the correspondence of five years ago which may contain letters of
a routine nature and as a result may be filed together with the catalogue
card indicating "Lodge Correspondence 1996". If there is contained within
that group a document such as a directive from the Grand Master of the
day, a notation to that effect should be made on the card.
The
cataloging of physical artifacts is slightly different from that of
written documents. Photographs are to be catalogued using the same
criteria of provenance and original order whenever possible. The problem
that often arises with photographs is that there is often no indication as
to when the photograph was taken, the event that was being recorded or the
names of the subjects in the photo. This is where a little detective work
can go a long way to obtaining the necessary information. With the
assistance of the older Past Masters of the lodge, one or two subjects in
the picture can be identified, the rest of the information will then come
together with a little research. If for example the picture is of the
presentation of a fifty year certificate by the Grand Master, identifying
either the Grand Master or the recipient will allow you to track back in
the minutes and nail down the date and with a little cross referencing the
names of everybody in the photograph. Now that the date, event, and names
are known this information is recorded on the reference card.
Jewels are usually an easy item to record for the name of the
recipient and date of presentation etc. are normally engraved on the back
of the jewel. There should be little difficulty encountered in the
cataloging of such items. Aprons however are not always easy to document.
Before attempting any documentation reference should be made to the
Arrival Policy adopted by the lodge to determine if the apron should even
be in the collection. If the article is deemed to be a valid part of the
collection, check for the name of the owner under the flap on perhaps on
the back. If present, a search of the lodge records will provide the
necessary information. If the name of the owner is not present, talk to
the older members of the lodge, they may be able to cast some light as to
the period when that style of apron was in use. Talking to other lodges
that may have similar artifacts in their possession may also lead to
information as to the period when the apron would have been in use.
In summary the archival collection should be catalogued using
provenance and original order in every record made. The following parts of
the collection are to be catalogued:
Photographs of officers, members and significant events in the history
of the lodge.PRESERVATION
There are a variety of
factors that contribute to the degradation of archival materials. These
include careless handling, poor environment, inappropriate storage,
exhibition or framing, and improper cleaning and/or conservation. In this
section these various factors are discussed with the hope that the current
state of lodge archives might be improved.
Handling of Archival
Material
Careless handling is by far the most prevalent cause of
damage to archival materials. It can lead to tears, wear, loss of the
image, creases and staining. The following guidelines are included to
assist in the prevention of damage that can occur during handling.
Clean white cotton gloves should always be worn when handling a
book or document. Salts and oils from human hands can cause damage in the
form of staining and can also transfer dirt to the paper surface. This may
come as a surprise to some that there is actually another use for white
gloves outside of the lodge room. If gloves are not available, care should
be taken to ensure that hands are washed and dried frequently when
handling the archival materials.
All work spaces and table tops
should be neat and free of dirt. When moving a paper or parchment document
always support it from below. The safest method for moving the object is
to slide a piece of stiff paper or matboard underneath the document so
that the matboard (not the document) is handled. This is particularly
necessary when handling brittle paper or parchment items that cannot
support their own weight. Never lift a piece of paper by its edges,
particularly if there are any tears present. Stacked paper objects should
never be dragged or slid across each other. This can cause abrasion or
smudging of their surfaces. It is preferable to lift them up one at a
time.
Books should be grasped by both sides, not by the upper edge
of the book (endcap). This can lead to damage and tearing of the binding.
If the sides of the book are not readily accessible (as is often the
situation with books that are stored on book shelves), the book should be
gently nudged forward on the shelf from the back so that it can be fully
grasped with one hand.
Never eat, smoke or drink in the vicinity
of archival collections. Accidents can lead to irreparable staining or
burns. It is a good rule to use only pencils when working on, or around,
archival materials as pens and markers can cause staining. Never write on
documents with a marker or pen. It can bleed through to the other side or
can complicate future conservation work.
Paper clips, binder
clips, staples and post-it notes should not be used on archival materials.
Metallic clips can corrode and leave rust stains on paper, parchment and
fabric. If it is necessary to use paper clips, plastic covered clips can
be used. Post-it notes can damage the media or paper surfaces. Extensive
photocopying of books and documents should be avoided as it can lead to
damage in the form of fading. The compression of books during photocopying
can also break the binding and spine of the
book.
ENVIRONMENT
The overall environmental
conditions under which archival materials are stored and displayed can
have a great effect upon their longevity. Factors that can lead to damage
include: pollution; pests; inappropriate temperature, relative humidity
and light levels.
The fading of dyes and pigments and the overall
degradation of archival materials can be caused by a variety of
pollutants, including sulfuric acid, nitric acid, ozone and formaldehyde.
These chemicals can originate either from the outside air or from
materials in the environment. Wood and leather, as well as some rubber and
plastic materials, can produce acid vapors as they age.
Air
filtration is the most effective way to minimize damage due to pollution.
Proper storage can help to prolong the life of works of archival
materials, if air filtration is not feasible. Measures should also be
taken to eliminate storage or display in the vicinity of materials that
emit hazardous gases. Unfortunately, for composite objects such as books,
incompatible materials such as leather and paper cannot be separated.
There are a variety of insects that can damage paper and leather
artifacts; primarily, silverfish, firebrats, carpet beetles and the book
louse.
Silverfish feed on mold and starchy materials that are
found on paper. They are small gray insects (approximately 12mm in length)
and have a scaly appearance. Silverfish are generally found in dark, cool
and moist environments such as basements. Evidence of silverfish damage is
visible as an abraded rough surface on paper materials.
The
firebrat is similar in appearance to the silverfish; however, it is
somewhat darker in color. Like silverfish, firebrats also feed on mold and
starchy materials; the major difference being that firebrats prefer
environments which are warm, moist and dark.
The book louse is
generally found in heated buildings. They feed on mold spores that are
found on paper and cardboard. Direct feeding by book lice doesn't cause
visible damage to paper; however, their squashed bodies can cause
staining. Book louse prefer high humidity levels (above 60%), and they
reproduce at warm temperatures above 25 degrees C.
Carpet beetles
generally subsist on protein-based materials that are often present in
archival objects; i.e., adhesives, leather or parchment. The presence of
tiny black beetles (2mm in size), small worms or furry carcasses are an
indication of infestation.
In general good housekeeping is the best
method of pest prevention. Regular inspections of stored collections
provides the cheapest and safest method of safeguarding against
infestation. When infestations are suspected, sticky insect traps can be
placed under cabinets and cupboards. These traps do not poison insects,
but they do aid in assessing the numbers and types of insects that are
present. In general, insecticides should not be used on or in the vicinity
of archival materials. Insecticides can cause the fading and discoloration
of paper, leather or parchment. If you do find an infested item, place in
sealed plastic bag and contact a professional
immediately.
Fluctuations and extremes in temperature and humidity
levels can have a detrimental effect upon the preservation of archival
materials. By far, the greatest damage to collections is caused by rapid
fluctuations in relative humidity. Temperature and humidity are
interrelated. In general, heated buildings have very low relative humidity
levels in winter. Conversely, humidity levels are high in the summer
months.
Low humidity levels can cause: the drying out and
embrittlement of materials. the shrinkage of vellum and parchment covers,
resulting in warpage. High humidity levels can cause the swelling of paper
and parchment materials, resulting in planar distortions. Coated papers to
stick together, the transfer of inks from one surface to another and mold
growth in levels above 60%. Ideally cool storage is desirable for archival
materials; however, in the home, it is generally not practical. Therefore,
damage should be minimized by avoiding extremes in temperature and
humidity. This can be done by insuring that objects are kept away from
heat sources such as furnace vents, fire places, warm lights and direct
sunlight Excessive humidity, as can be found in most basements, should
also be avoided since it can cause mold growth that can stain the surface
of the object. Recommended temperature and humidity levels for the storage
and display of collections are as follows:
- Temperature: 67
degrees F, plus or minus 2 degrees F
- Humidity: 47%, plus or
minus 2%
Another major cause of damage to archival materials is
exposure to high light levels, which leads to fading of media,
discoloration and embrittlement due to heating.
The most damaging
portion of natural and artificial light is Ultra Violet (UV). UV is the
invisible high energy portion of light. This is the same energy that has
been proven to damage eyes and skin.. The simple prevention is to place
framed documents either on an inside wall (hallway) or on a wall that
receives the least amount of light during the day. This includes such
items as lodge charters, portraits etc. In addition to damage resulting
from exposure to UV, visible light can also damage documents. The
recommended light levels for display of paper materials in museums is very
low. 50 LUX is the level that is recommended for short periods of time (6
months). Colored inks are among the most susceptible to light damage and
should be displayed in dim areas, free from bright light sources. Media
such as black ink can tolerate somewhat higher exposure levels.
STORAGE, EXHIBITION AND FRAMING
The proper storage
and display of archival materials can help to minimize many of the factors
that can lead to degradation.
Paper Documents
The
encapsulation of documents within a clear plastic (mylar) envelope
provides a simple method of protecting documents from dirt, dust and
tearing. Encapsulation also allows for viewing of both sides of the
document. Mylar envelopes and acid free boxes can be purchased from
conservation suppliers. For large or odd size documents, sheets of mylar
can be sewn together or adhered along the edges using double sided tape.
The recommended tape is 3M #415 adhesive tape. Care should be taken to
insure that the tape does not come in contact with the
document.
Encapsulated documents can then be placed into acid free
boxes or folders for long term storage. Items that are not handled often
can simply be placed in folders and boxes. All storage boxes, paper
folders and tissue paper should be acid-free, lignin free and have a
neutral pH. Acid that is generated by poor quality wood-based cardboard
boxes and folders can cause the degradation of artworks stored within
them.
Severely degraded paper should be stored in buffered boxes
that contain an alkaline reserve. Alkaline reserve buffers are chemicals
that absorb acids that are generated by the degraded paper.
In
general, good housekeeping is essential to the preservation of artworks on
paper. Routine inspection and cleaning of boxes and folders will aid in
extending the life of collections.
Books
Bookshelves are
the most common method of storing books. To minimize damage that can be
caused by overcrowding, books should be packed loosely on shelves. The use
of book ends can help to provide even support. Large books should be
stored flat on shelving units. Rare and fragile books should be placed
into individual protective enclosures
Exhibition and
Framing
The display of documents and books in the vicinity of
fireplaces or air ducts should be avoided since dirt and soot can be
deposited onto the paper surface. The display of framed documents on
exterior walls should be avoided as it can lead to damage resulting from
moisture condensation on the back of the document.
Matting and
Framing
Archival documents can be framed for display. The use of
high quality, acid-free, lignin-free matboard is recommended. In general,
paper objects should be framed using a window mat. Window mats provide
space between the surface of the artwork and the glass of the frame to
prevent the work of art from becoming stuck to the glass surface. The
document should be attached to the matboard using only acid-free paper
hinges and high-quality adhesives. Staining can be caused by contact with
acidic or other poor quality materials, such as scotch tape or rubber
cement. The recommended adhesives for hinging paper are wheat starch
paste, methyl cellulose, and the ready-made paper framing/hinging tape
that is available from suppliers of conservation materials. The use of
ultra violet filtering glass and Plexiglas in frames can help to reduce
damage from UV light.
Repair and Cleaning
Aside from
obscuring text, dirt can attract moisture, mold spores and pollution. Dirt
also has an abrasive quality that weakens the structure of leather and
paper. In general, the cleaning and repair of paper materials should be
carried out by a professional conservator. If you wish to carry out some
surface cleaning, the following procedures should be followed:
Surface Cleaning
Paper and parchment documents can be
lightly dusted with a soft brush to remove surface dirt. Prior to dusting,
the art should be inspected carefully to insure that there is no loose or
powdery media or surface that could be brushed away during cleaning. Any
additional cleaning of parchment should be carried out by a professional
conservator. If brushing does not remove sufficient surface dirt, dry
eraser pads such as Opaline and Skum-X can be used on paper. Again, this
method of cleaning should only be used for stable images. To clean with
Opaline or Skum-X, simply shake powder onto the surface of the document
and very gently rub it over the surface of the paper. The powder should
then be brushed off using a soft brush. Care should be taken to clean only
the areas around the media, not the media itself.
Always proceed
with caution when cleaning. Over-cleaning can cause more damage than the
dirt itself. Extensive wet or solvent cleaning should only be carried out
by a conservator.
Books
The covers and edges of books can
be brushed to remove surface dirt. An alternate method of cleaning is the
use of a low-suction portable vacuum. A soft brush attachment and nylon
screen should be attached over the end of the nozzle to catch loose
fragments that could be vacuumed up during cleaning. All fragments should
be saved since they can be reattached during future conservation
work.
Mold Removal
Archival materials that have been
stored in damp environments are highly susceptible to damage by mold
growth. In situations where mold growth has occurred the mold must be
removed before it can cause permanent staining or contamination of other
objects.
The safest method of mold removal for paper items is the
use of a brush and a small low-suction vacuum cleaner. Mold spores can
spread through the air and must be contained. The Canadian Conservation
Institute has devised an inexpensive method of making a vacuum that traps
mold in a glass vial containing water .
If a vacuum cannot be
constructed, an alternative method is to brush the mold off the surface of
the paper. This must be carried out in an area where other paper and
objects will not become contaminated. During the summer, this work could
be done outdoors. Frequent cleaning of brushes is
essential.
LEATHER ARTIFACTS
Every Masonic archive
is going to have within it's collection leather aprons reflecting the
history of the lodge. From cataloging the collection, the name of the
owner has been determined, now attention must be turned to preservation.
Leather has it's own set of criteria that must be followed to properly
conserve these artifacts. The following guidelines will enable this
process to be successfully undertaken: Cleaning
There was a time
in the not so distant past that all leather objects in museums were
routinely subjected to a saddle soaping for preservation. It has been
found that unnecessary washing of leather is unwarranted and may actually
be detrimental to the leather. First, it removes along with dirt, some of
the natural moisture of the leather. Secondly, it is much harder to remove
excess saddle soap residue from the leather than may be supposed With this
in mind, the general rule of thumb is that the use of saddle soap to clean
leather should be limited to objects with light oily/dirt soiling The
cleaning should be judicious and limited to those soiled areas of the
object and not the entire object!
The saddle soap should be of a
top quality such as Propert's or Kiwi. Proper applications begins by
brushing the leather with a soft brush to remove all surface dust, etc.
Then, saddle soap is worked into a lather with a soft, damp sponge (not
wet). The lather and only the lather should be applied to the object and
rubbed in a circular motion with a nearly dry sponge. The sponge should be
rinsed and squeezed out to remove all dirt and water before it is
re-applied to the leather. This step is repeated 5-6 times to assure that
all soap residue is removed. Directly applying saddle soap without water
is detrimental to leather. It is very hard to remove residue effectively
without using large amounts of water, that, in turn leads to damage. Apply
the lather and work in with a short swirling motion. The object should be
left to air dry (not force dried) in its normal
shape.
Preservation Treatment:
The most common forms of
deterioration in leather are due to prolonged dryness, mold, mildew and
fungus, U/V light, insects and vermin, and last but not least, the
reaction of the 'tanning' with atmospheric pollutants such as sulphur
dioxide (acid rain). Thus, leather needs to be protected from these agents
of deterioration. Mold, mildew, fungus and pollutants can be detetted
through the application of a solution of 7% Potassium Lactate and 1/4%
Paranitrophenol to the object. If the object shows signs of mold spores,
it should be brushed with a medium nylon bristle tooth brush to remove the
spores before application of a protective solution such as Talas Leather
Protector. It is a deacidifier, cleaner, buffering salt and fungistat
which will also prevent the occurrence of 'red rot' which so often attacks
vegetable tanned leather. It is basically non-toxic to humans, but rubber
gloves should be worn when applying any solvents, liquids, etc. The
protector should be applied sparingly but thoroughly, using a soft cloth
or sponge. It should be allowed to soak into the leather and air dry. This
product is very valuable in conserving your leather
objects.
'Feeding' the Leather:
Dry, rigid or brittle
leather may be made flexible again by proper lubrication or replacement of
natural moisture with emollients such as Neat's foot oil, cedarwood oil,
lanolin or a combination of these. The proper ratio of Neat's foot oil to
lanolin is 60% Neat's foot oil to 40% lanolin. Since lanolin generally is
found in a semi-solid form, it has to be heated to reduce it to a liquid
before mixing with the Neat's foot oil. This is a purist, traditional
method of making leather dressing which is unnecessary in today's
applications. Talas markets a pre-mixed leather dressing combining these
two oils. It is marketed as Talas Leather Dressing. Probably the best all
around leather dressing is British Museum Leather Dressing or BMLD. It was
developed by the British Museum and consists. of lanolin, beeswax,
cedarwood oil and hexane The lanolin and cedarwood oil lubricate the
leather fibers while the beeswax acts as a sealer and imparts a nice sheen
to the leather when buffed.
The BMLD should be applied with a soft
lint free cloth such as cheese cloth etc., and should be applied sparingly
in two coats separated by 2 days absorption time. After the second coat
and absorption time (2 days), the object should be wiped with soft, lint
free cloth to remove any excess dressing and then buffed. The beeswax or
ceresin seals the leather grain when it is buffed and is an added ounce of
prevention. It should be noted that all leather dressings will darken
leather to some degree. This is generally acceptable and does not effect
the items exhibit worthiness. This darkening actually helps to hide
darkened oily stains in the leather. The applications of any dressing
should occur after the application of a leather protector.
There
are other worthy dressings which may be substituted. Lexol which contains
lanolin, Neat's foot oil and a mold, mildew deterrent, or Renaissance
Leather Reviver which contains lanolin, 1,1,1, trichloroethane, and mystox
(mold inhibitor).
Proper Storage and exhibition of Leather
Objects:
As stated earlier, the single most important aspect
of leather preservation is environmental control. The ideal environment
for most leather objects is a relative humidity between 45% and 60% and a
constant temperature of between 55 and 68 degrees F. The important aspect
of those figures is not whether you achieve 50% RH and 65 degree F temp
exactly, but that the temp & RH stay constant. Spiking temperature and
humidity changes are detrimental to leather and most other objects in your
collection.
Radiant light and heat should be avoided. This will
cause chemical and physical changes in leather. Dyed or painted leathers
should be protected from ultraviolet radiation as diligently as you would
protect prints, documents, paintings and textiles.
Good house
keeping is essential in leather care. Dust settling on leather can be very
abrasive but even worse, it brings moisture and pollutants into contact
with the leather and accelerates the onset of chemical decay (red rot).
Leather may be stored and covered with plastic bags so long as the bottom
is left open to facilitate air exchange.
Aprons should be stored
flat. If more than one apron is being stored, a piece of acid free tissue
should be placed between the aprons. Never pile other contents on top of
the aprons. If the aprons are to be displayed it should be done by laying
them flat in a display case and not by hanging as hanging adds a great
deal of stress to the apron. Exhibition of leather objects should be in
cases designed with U/V filtering plexiglass and ventilated to assure air
exchange. Again, temperature, humidity and light control are very
important to your leather objects and cases should be designed and located
with this in mind.
PHOTOGRAPHS
There is an old saying
that a picture is worth a thousand words and fortunate is the Masonic body
that has a large photographic collection. Over the years Masonic bodies
have been remiss in having pictures taken on a regular basis to provide a
visual history of their respective bodies.
As with the other
elements of the archival collections, photographs also have their
particular requirements for proper storage to ensure that they will
maintain the integrity of the original images. The following guidelines
will insure that these valuable images will be available for years to
come.
Environment
Photographic materials require a cool,
dry, well-ventilated storage environment. High temperature and relative
humidity increase deterioration and promote the growth of mold and mildew,
which could mar surfaces and break down binder layers. Avoid storing
photographs in the attic, the basement, or along the outside walls of a
building, where environmental conditions are more prone to extremes and
fluctuations and where condensation may occur. In some storage situations,
seasonal adjustments such as dehumidifiers in the summer or fans to
promote air circulation may be necessary to improve problematic
environmental conditions.
The ideal storage conditions for most
photographs are a temperature of 68 F and relative humidity in the range
of 30 - 40%. Film-based negatives and contemporary color photographs
benefit from storage in cooler environments of 30 - 40 F and 30 - 40%
relative humidity.
Storage Enclosures
Keep photographic
materials in enclosures that protect them from dust and light and provide
physical support during use. Chemically stable plastic or paper
enclosures, free of sulfur, acids, and peroxides, are recommended. Plastic
sleeves should be constructed of uncoated polyester, polypropylene, or
polyethylene. For most photographic materials, unbuffered paper enclosures
are preferred over buffered enclosures. Alkaline buffering is added to
archival storage papers to absorb acidity from the stored material or the
environment surrounding it. However, some photographs may be altered by
the buffering in alkaline papers, so unbuffered paper is recommended for
most processes. Film-based negatives, which can produce acidic gasses as
they age, should be placed in archival, buffered enclosures and stored
separately from other photographic materials. Store cased objects, such as
daguerreotypes and ambrotypes, in their original cases or frames with the
addition of custom-made, four-flap paper enclosures to reduce wear and
tear on fragile cases. Place individually housed prints, negatives, and
cased objects in acid-free, durable boxes that will afford further
protection from light, dust, and potential environmental
fluctuations.
The storage of photographs in albums serves the dual
purpose of organizing groups of images while protecting them from physical
and environmental damage. Albums can be wonderful sources of historic and
genealogical information. Preserve them intact when possible and store
them in custom-fitted archival boxes. For the storage of family
photographs, albums constructed with archival materials are available from
conservation suppliers. Magnetic or self-adhesive albums can be
detrimental to photographs and should not be used.
Displaying
Photographs
Photographs should be protected from extended exposure
to intense light sources. Limit exhibition times, control light exposure,
and monitor the condition of the photographs carefully. Prolonged or
permanent display of photographs is not recommended. It is important to
note that a microenvironment is created when a photograph is placed in a
frame for exhibition. Use unbuffered ragboard mats, and frame photographs
with archivally sound materials. Use ultraviolet filtering plexiglass to
help protect the photographs during light exposure. Reproduce vulnerable
or unique images and display the duplicate image; in this way, the
original photograph can be properly stored and
preserved.
Housekeeping Guidelines
An overlooked area of
collection maintenance is keeping the areas where photographs are handled
or stored clean and pest-free. Paper fibers, albumen, and gelatin binders
are just some of the components in photographic materials that provide an
attractive food source for insects and rodents. It is vital that
collections areas be free of debris that might encourage pests. Food and
beverages should not be allowed. Apart from the potential for attracting
pests, accidental spills can irreversibly damage most photographic
objects.
Handling Procedures
Most damage to photographs
results from poor handling. A well-organized and properly housed
collection promotes respect for the photographs and appropriate care in
handling. When images can be located quickly, there is less possibility of
physical damage. The enclosures should be designed in relation to the
intended use of the photographs, as well as their type and condition.
Establish handling procedures and adhere to them whenever photographs are
being used. View photographs in a clean, uncluttered area, and handle them
with clean hands. Wear white cotton gloves to lessen the possibility of
leaving fingerprints and soiling the materials; however, gloves may reduce
the manual dexterity of the user. Support photographs carefully and hold
them with both hands to avoid damage. Keep photographs covered when they
are not being viewed immediately. Do not use ink pens around photographic
materials. Mark enclosures with pencil only. If it is necessary to mark a
photograph, write lightly with a soft lead pencil on the reverse of the
image.
Common Concerns And Solutions
The following
problems are commonly encountered in photographic collections:
Broken, torn, or cracked photographs:
If the primary support of a photograph sustains serious damage, place it
carefully in a polyester sleeve with an archival board support. If a
photograph has a flaking binder layer or friable surface treatments,
such as the pastel coloring often seen on crayon enlargements, place it
in a shallow box, not a polyester sleeve. Do not use pressure-sensitive
adhesive tapes to repair torn photographs. Consult a photographic
materials conservator to perform repairs.
Soiled photographs
or negatives: Brush soiled photographs carefully with
a clean, soft brush. Proceed from the center of the photograph outward
toward the edges. Do not attempt to clean photographs with water- or
solvent-based cleaners, such as window cleaner or film cleaner. Improper
cleaning of photographic materials can cause serious and often
irreversible damage, such as permanent staining, abrasion, alteration,
or loss of binder and image.
Photographs or negatives adhered
to enclosures: High-humidity environments or direct
exposure to liquids can cause photographs to adhere to frame glass or
enclosure materials. This is a very difficult problem to resolve, and
great care must be taken to reduce the possibility of further damage. If
a photograph becomes attached to adjacent materials, consult a
photographic materials conservator before attempting to remove the
adhered materials.
Deteriorated negatives:
Chemical instability is a major factor in the deterioration of early
film-based materials. If film-based negatives are brittle, discolored,
sticky, or appear wavy and full of air bubbles, separate the negatives
from the rest of the collection and consult a photographic materials
conservator. A conservator will be able to help identify these materials
and make recommendations for their safe storage and/or
duplication.
Broken glass negatives or ambrotypes:
Place broken glass carefully in archival paper enclosures. Use a
separate, clearly marked enclosure for each piece to reduce the
possibility of scratching or further damage. For long-term storage,
construct a custom sink mat that holds the pieces of broken glass,
separated by mat-board shims, in one enclosure. Consult a photographic
materials conservator for assistance.
BACKING UP YOUR
ARCHIVES
While every effort can be exerted too properly
preserve the lodge archives, the possibility of the complete destruction
of a lodges' archives due to a disastrous fire or other calamity always
remains a possibility. Consideration should be given to having "back up"
copies of the archives made of which there are a number of options that
are available.
Microfilm
The use of the microfilm technology has
been around for a number of years and is the accepted method of
duplicating documents, newspapers etc. for libraries as well as private
and public institutions with large archival collections. The
microfilming of documents has the advantage that the microfilm takes up
little storage space and can be safely lodged in a safety deposit box or
other safe storage. There are companies across the country that provide
this service. The costs associated in having the service provided will
vary depending upon the volume of documents to be copied, shipping and
handling of the original documents etc. A quick search of the yellow
pages under Microfilming will put you in contact with the company which
should be able to provide an estimate of costs based on your
requirements. The local library can provide you with the name of their
service provider and also serves as to provide a
reference.
Another option in microfilming is to turn over the
lodge archives for duplication to your Government agency responsible for
Public Archives These agencies will normally copy the archives to
microfilm at no charge and return the records when finished. There are
however several important points to consider before taking this avenue.
The first relates to privacy, it is important to determine whether or
not your Public Archives will maintain these records "as private" for
use by authorized individuals only. If it is the policy of the Public
Archives that such records become part of the public domain it is then
essential that the prior approval of Grand Lodge be obtained before any
attempt is made to turn over the archives for
duplication.
Photocopying/Scanning
Photocopying or
scanning of records is another option available, however this option
poses a number of problems and therefore has little viability. Unless
the lodge has a photocopier at their disposal, the cost of photocopying
a large collection at a commercial establishment could run into
significant dollars. There is then the problem of where to store the
duplicates.
They cannot be stored with the originals, otherwise
the whole purpose of the exercise would be defeated. They could be
stored off site at a facility designed for that purpose and pay the
monthly rental charges associated with the storage. Scanning the records
would have the benefit of being able to save the archives on disks or
CD-ROMs if that technology was available. For the lodge secretary or
historian who uses a computer on a routine basis the term "backing up"
is part of the everyday computer lexicon. Minutes and outgoing
correspondence for the most part are compiled on the computer using word
processing. Backing up these records becomes a simple matter of saving
to properly labeled disks which can then be placed in safe storage. Even
incoming correspondence can be saved to disk by using a scanner to copy
the documents.
The one downside to the backing up of the archive
base on computer disks or CD-ROMs is our rapidly advancing technology.
We have all seen the tremendous strides that have been accomplished in
the world of computers over the past five years, which leads one to only
imagine the advances that are yet to come. With the introduction of new
mediums to which data will be saved, it would be necessary to transfer
the archival data from the old medium to the new.
DISASTER PLANNING
If there is one thing
common amongst us all, it is that we fail to plan for disasters, for it
seems that it is part of the human condition that we feel that it only
happens to the other fellow. Disasters come in many forms; fire, smoke
damage, water damage from floods, broken pipes, leaks in roofs etc. Any
and all of these forms can cause immense damage to your archives. While
prevention is the obvious and most desired solution, this is often beyond
our control. If a disaster strikes, what happens immediately afterwards
takes on paramount importance.
The first step in disaster planning
is to ensure adequate insurance coverage. While most lodges and concordant
bodies carry fire insurance to cover the cost of replacing buildings and
regalia, the policies rarely cover the cleaning and restoration of
archival material, libraries etc. Therefore it is strongly recommended
that your insurance policy be reviewed and upgraded where required to
cover the cost of restoration by a qualified conservator/restoration
expert. It is also advisable to have one person designated to be contacted
in the event of a disaster, i.e. the lodge historian/archivist, secretary
etc. This person should have a small core group of workers that he can
call on in the event that they are needed.
The following steps
should be followed in the event that the unspeakable occurs. You will note
that different circumstances will call for a different response. If at any
point in time you are in doubt as to the correct steps to be taken in a
given situation, a call to the conservator/ restoration expert could
prevent a costly mistake. You should be aware that in cases of a
significant loss the insurance carrier will turn over the file to either
an in-house adjuster or to an independent adjusting firm. From that point
on it is the adjuster that will be your contact with respect to the claim.
Damage from fire and/or smoke.
a) Call
insurance agent and conservation/restoration professional.
b) Gain
access as soon as possible to the area where archives are held.
c)
Determine extent of damage.
d) Inventory damaged items.
e) If
building is unsecured, package, label and remove archives to a safe
storage area.
f) Turn over archives to the conservation/restoration
expert as soon as possible.
Certain precautions should be taken
when entering the area after approval has been obtained from the civil
authorities All volunteers should wear the appropriate clothing including
masks. Disposable gloves should be worn and changed frequently to reduce
the spreading of smoke on archival material.
Damage from
water.
a) Call insurance agent and conservation/restoration
professional.
b) Gain access as soon as possible to the area where
archives are held.
c) Determine extent of damage
d) Do not attempt
to start separating water soaked items to inspect condition, irreversible
damage may occur.
e) Pack and remove archives to the appropriate
storage area using the following guidelines.
I. Books: Pack snugly, spine down, and freeze.
II.
Documents/manuscripts: Remove plastic covers if any, pack snugly,
upright in original folders ( if no folders, pack flat) and
freeze.
III. Textiles: Bag wet textiles in plastic and freeze.
Briefly immerse partially wet textiles in clean water, blot and freeze.
IV. Leather: Shape, pad and air dry.
V. Photographs: Carefully
separate wet photos, place in plastic bag with a piece of plastic paper
between each photo and freeze.
f.) Turn over archives to the
conservation/restoration expert as soon as possible.
Certain
precautions should be taken when entering the area after approval has been
obtained from the civil authorities All volunteers should wear the
appropriate clothing including masks. Disposable gloves should be worn and
changed frequently to reduce the chance of spreading of mold spores.
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