Series editors' preface - Wood Tools

and preservation. He proposed a model in
which each of these absolutes occupies the
corner of a triangle. Plotting a conservation
activity within this triangle can help the conservator
visualize the compromises involved in
a conservation treatment.
Others have suggested an approach based on
a series of questions. The Conservation
Department at the Victoria and Albert Museum
developed an Ethics Checklist to help conservators
engage in a clear decision-making process.
The V&A ethics checklist
Why is action needed? This question should
be asked to determine whether work is necessary
and what would happen if the work were
not carried out. There could be many reasons
for an action, such as stabilizing the object or
aesthetics. Often, some intervention is necessary,
to render the object stable for its end use.
No matter how minimal, this intervention will
change or may even destroy the original construction
of the artefact. However, if the artefact
is left untreated the process of degradation
may be at least equally damaging. Sometimes
very difficult decisions have to be made. In
assessing the damages to a piece of furniture
and in evaluating the treatment options, there
is always the alternative not to treat them. This
may be the best solution for the object. This
conclusion may be reached after considering
stability, likelihood of future change and the
damage likely to occur from treatment.
Damage may be a result of a historic event and
should perhaps be respected as such. The construction
of a piece of furniture may impede
restoration or the restoration may cause additional
problems. When there are no clear
examples available for reconstructing missing
elements, it may be best not to restore the
object, or to leave parts untreated. Finally,
when the conservator does not feel competent
to handle a certain problem, he or she should
either consult with a colleague or a specialist,
or leave the object untreated. If there is no specific
reason against treatment, however, a number
of options may present themselves from
which the conservator should select the most
suitable one. The conservator should always
seek to preserve without disturbing or obliterating
evidence. Factors to consider before
treatment of upholstery are discussed by
Bergen (1952).
Conservation preliminaries 375
Have I consulted all available records? At the
most fundamental level, records can show that
the object is in fact the one we suppose it to
be. Most institutional owners will uniquely
identify their objects by some form of numbering
system and record important information
about them in a catalogue. It is an obvious step
to check that the number and the description
match the object. Such documentation may
also reveal that an item is one of a set, which
may be an important consideration. Records
may show whether an object has previously
been conserved/restored, may reveal the intention
of the artist (or designer or maker) and
may show whether any copyright exists in the
work. Photographs of the object may be available
that provide evidence of an earlier state,
for example the appearance of a component
that has subsequently been lost. This question
was designed to be very open so that nothing
is excluded. Of course it is rarely possible to
answer ‘yes’, but the words ‘necessary’ or ‘relevant’
were deliberately left out. The conservation
professional should be able to judge what
is necessary or relevant, but only after thinking
about everything that might be available.
Do I need to consult clients, peers or other specialists?
This question is intended to ensure
that the owner, curator, or other persons
responsible for the object have been informed
of the intended action. It is important to be
clear for whom one is working and to ensure
that the need for treatment has been discussed
and agreed with the owner or curator. There
may also be other stakeholders and sources to
be consulted. It may be helpful to discuss the
need for treatment with other conservators.
Scientific input may also be required before
treatment can be fully informed or safely carried
out.
What are the factors contributing to the identity
and significance of the object? For example,
these may include historical and technical factors,
the maker’s intentions, the sacred nature of
the object or any associations with people or
events. A fundamental aspect of this question is
to determine what effect any proposed actions
might have on the evidence for these factors.
The essence of this question is an attempt to
determine the significance of the work in its
cultural context and where the identity of the