Conservation and restoration of cultural property Information
The conservation and restoration of cultural property focuses on protection and care of cultural property (tangible cultural heritage), including artworks, architecture, archaeology, and museum collections.  Conservation activities include preventive conservation, examination, documentation, research, treatment, and education.  This field is closely allied with conservation science, curators and registrars.
Conservation of cultural property involves protection and restoration using "any methods that prove effective in keeping that property in as close to its original condition as possible for as long as possible."  Conservation of cultural heritage is often associated with art collections and museums and involves collection care and management through tracking, examination, documentation, exhibition, storage, preventive conservation, and restoration. 
The scope has widened from art conservation, involving protection and care of artwork and architecture, to conservation of cultural heritage, also including protection and care of a broad set of other cultural and historical works. Conservation of cultural heritage can be described as a type of ethical stewardship.
It may broadly be divided into:
- Conservation and restoration of movable cultural property
- Conservation and restoration of immovable cultural property
Conservation of cultural property applies simple ethical guidelines:
- Minimal intervention;
- Appropriate materials and reversible methods;
- Full documentation of all work undertaken.
Often there are compromises between preserving appearance, maintaining original design and material properties, and ability to reverse changes. Reversibility is now emphasized so as to reduce problems with future treatment, investigation, and use.
In order for conservators to decide upon an appropriate conservation strategy and apply their professional expertise accordingly, they must take into account views of the stakeholder, the values, artist's intent, meaning of the work, and the physical needs of the material.
Cesare Brandi in his Theory of Restoration, describes restoration as "the methodological moment in which the work of art is appreciated in its material form and in its historical and aesthetic duality, with a view to transmitting it to the future".  
Some consider the tradition of conservation of cultural heritage in Europe to have begun in 1565 with the restoration of the Sistine Chapel frescoes, but more ancient examples include the work of Cassiodorus. 
The care of cultural heritage has a long history, one that was primarily aimed at fixing and mending objects for their continued use and aesthetic enjoyment.  Until the early 20th century, artists were normally the ones called upon to repair damaged artworks. During the 19th century, however, the fields of science and art became increasingly intertwined as scientists such as Michael Faraday began to study the damaging effects of the environment to works of art. Louis Pasteur carried out scientific analysis on paint as well.  However, perhaps the first organized attempt to apply a theoretical framework to the conservation of cultural heritage came with the founding in the United Kingdom of the Society for the Protection of Ancient Buildings in 1877. The society was founded by William Morris and Philip Webb, both of whom were deeply influenced by the writings of John Ruskin. During the same period, a French movement with similar aims was being developed under the direction of Eugène Viollet-le-Duc, an architect and theorist, famous for his restorations of medieval buildings.
Conservation of cultural heritage as a distinct field of study initially developed in Germany, where in 1888 Friedrich Rathgen became the first chemist to be employed by a Museum, the Koniglichen Museen, Berlin ( Royal Museums of Berlin). He not only developed a scientific approach to the care of objects in the collections, but disseminated this approach by publishing a Handbook of Conservation in 1898.  The early development of conservation of cultural heritage in any area of the world is usually linked to the creation of positions for chemists within museums. In British archaeology, key research and technical experimentation in conservation was undertaken by women such as Ione Gedye both in the field and in archaeological collections, particularly those of the Institute of Archaeology, London.
In the United Kingdom, pioneering research into painting materials and conservation, ceramics, and stone conservation was conducted by Arthur Pillans Laurie, academic chemist and Principal of Heriot-Watt University from 1900. Laurie's interests were fostered by William Holman Hunt.  In 1924 the chemist Dr Harold Plenderleith began to work at the British Museum with Dr. Alexander Scott in the recently created Research Laboratory, although he was actually employed by the Department of Scientific and Industrial Research in the early years. Plenderleith's appointment may be said to have given birth to the conservation profession in the UK, although there had been craftsmen in many museums and in the commercial art world for generations.  This department was created by the museum to address the deteriorating condition of objects in the collection, damages which were a result of their being stored in the London Underground tunnels during the First World War. The creation of this department moved the focus for the development of conservation theory and practice from Germany to Britain, and made the latter a prime force in this fledgling field. In 1956 Plenderleith wrote a significant handbook called The Conservation of Antiquities and Works of Art, which supplanted Rathgen's earlier tome and set new standards for the development of art and conservation science.
In the United States, the development of conservation of cultural heritage can be traced to the Fogg Art Museum, and Edward Waldo Forbes, its director from 1909 to 1944. He encouraged technical investigation, and was Chairman of the Advisory Committee for the first technical journal, Technical Studies in the Field of the Fine Arts, published by the Fogg from 1932 to 1942. Importantly he also brought onto the museum staff chemists. Rutherford John Gettens was the first of such in the US to be permanently employed by an art museum. He worked with George L. Stout, the founder and first editor of Technical Studies. Gettens and Stout co-authored Painting Materials: A Short Encyclopaedia in 1942, reprinted in 1966. This compendium is still cited regularly. Only a few dates and descriptions in Gettens' and Stout's book are now outdated. 
George T. Oliver, of Oliver Brothers Art Restoration and Art Conservation-Boston (Est. 1850 in New York City) invented the vacuum hot table for relining paintings in 1920s; he filed a patent for the table in 1937.  Taylor's prototype table, which he designed and constructed, is still in operation. Oliver Brothers is believed to be the first and the oldest continuously operating art restoration company in the United States.
The focus of conservation development then accelerated in Britain and America, and it was in Britain that the first International Conservation Organisations developed. The International Institute for Conservation of Historic and Artistic Works (IIC) was incorporated under British law in 1950 as "a permanent organization to co-ordinate and improve the knowledge, methods, and working standards needed to protect and preserve precious materials of all kinds."  The rapid growth of conservation professional organizations, publications, journals, newsletters, both internationally and in localities, has spearheaded the development of the conservation profession, both practically and theoretically. Art historians and theorists such as Cesare Brandi have also played a significant role in developing conservation science theory. In recent years ethical concerns have been at the forefront of developments in conservation. Most significantly has been the idea of preventive conservation. This concept is based in part on the pioneering work by Garry Thomson CBE, and his book Museum Environment, first published in 1978.  Thomson was associated with the National Gallery in London; it was here that he established a set of guidelines or environmental controls for the best conditions in which objects could be stored and displayed within the museum environment. Although his exact guidelines are no longer rigidly followed, they did inspire this field of conservation.
Conservators routinely use chemical and scientific analysis for the examination and treatment of cultural works. The modern conservation laboratory uses equipment such as microscopes, spectrometers, and various x-ray regime instruments to better understand objects and their components. The data thus collected helps in deciding the conservation treatments to be provided to the object.
The conservator's work is guided by ethical standards. These take the form of applied ethics. Ethical standards have been established across the world, and national and international ethical guidelines have been written. One such example is:
Conservation OnLine provides resources on ethical issues in conservation,  including examples of codes of ethics and guidelines for professional conduct in conservation and allied fields; and charters and treaties pertaining to ethical issues involving the preservation of cultural property.
As well as standards of practice conservators deal with wider ethical concerns, such as the debates as to whether all art is worth preserving. 
Keeping up with the international contemporary scenario, recent concerns with sustainability in conservation have emerged. The common understanding that "the care of an artifact should not come at the undue expense of the environment"  is generally well accepted within the community and is already contemplated in guidelines of diverse institutions related to the field.   
Many cultural works are sensitive to environmental conditions such as temperature, humidity and exposure to visible light and ultraviolet radiation. These works must be protected in controlled environments where such variables are maintained within a range of damage-limiting levels. For example, watercolour paintings usually require shielding from sunlight to prevent fading of pigments.
Collections care is an important element of museum policy. It is an essential responsibility of members of the museum profession to create and maintain a protective environment for the collections in their care, whether in store, on display, or in transit. A museum should carefully monitor the condition of collections to determine when an artifact requires conservation work and the services of a qualified conservator.
A principal aim of a cultural conservator is to reduce the rate of deterioration of an object. Both non-interventive and interventive methodologies may be employed in pursuit of this goal. Interventive conservation refers to any direct interaction between the conservator and the material fabric of the object. Interventive actions are carried out for a variety of reasons, including aesthetic choices, stabilization needs for structural integrity, or cultural requirements for intangible continuity. Examples of interventive treatments include the removal of discolored varnish from a painting, the application of wax to a sculpture, and the washing and rebinding of a book. Ethical standards within the field require that the conservator fully justify interventive actions and carry out documentation before, during, and after the treatment.
One of the guiding principles of conservation of cultural heritage has traditionally been the idea of reversibility, that all interventions with the object should be fully reversible and that the object should be able to be returned to the state in which it was prior to the conservator's intervention. Although this concept remains a guiding principle of the profession, it has been widely critiqued within the conservation profession  and is now considered by many to be "a fuzzy concept."  Another important principle of conservation is that all alterations should be well documented and should be clearly distinguishable from the original object. 
An example of a highly publicized interventive conservation effort would be the conservation work conducted on the Sistine Chapel.
Understanding that conservation practices should not harm cultural heritage as well as the people and the environment has led conservators to consider, discuss and explore their methods and alternatives, through research projects,   working groups,  and initiatives by associations and/or organizations,   among others. The discussion around sustainable conservation practices applies both to institutional work  (like museums or research centres) as well as to business work (like private studios). 
There are a broad range of sustainable conservation practices that promote a more sustainable running of the workplace of whatever type. These include opting for green energy alternatives; reducing energy and water consumption; engaging in a responsible approach to the acquisition and transportation of products, materials and objects; re-using and recycling materials whenever possible; conducting proper waste disposal; regulating levels of climate control according to both collections and the local seasonal climate; and encouraging personnel to follow sustainable practices.    Conservation treatments may also follow more sustainable practices by minimizing the use of products whose production and use is dangerous for the environment and whenever possible replacing them with green alternatives (which may include green solvents, emulsions, nanomaterials, etc.).  
In line with current demands, in order to preserve our environment with sustainable practices, we must strive to establish management protocols and conservation practices from a sustainability perspective. In our daily work, a series of actions can be implemented. Among them:
- Prioritize the use of biodegradable products in conservation interventions whenever is possible;
- Support research and make use, whenever possible, of products and solvents, aimed at green chemistry, among them, aqueous systems (semi-rigid gels), nanogels, adjusted water systems, among others.
- Advocate and contribute to the development of research into new techniques and materials that may have use, performance and disposal with less environmental impact;
- In laboratories, prepare small amounts of material to avoid disposal; never discard material down the sink;
- Implement strict disposal protocol for chemical products, recyclable materials and compostable materials;
- Wear nitrile gloves only when strictly necessary; choose the most resistant ones; replace them, when possible, with ones that can be washed and reused;
- Do not purchase excess materials with reduced expiration dates and thus avoid waste and disposal;
- Reuse of materials in the laboratory giving them other uses, such as blotting paper, non woven, polyester film, among others;
- Give preference to the use of silicone paper instead of polyester films whenever possible
- Install deionized and distilled water filters in laboratories to avoid purchasing bottled products in order to avoid disposal;
- Give preference to locally produced products whenever possible, strengthening the local economy and reducing carbon footprint;
More than respecting the principle of sustainability, nowadays this must be part of preventive conservation management protocols, whether in exhibition rooms, museums, storage rooms, and other activities such as transport and packaging of objects and works of art;
- Use a LED lighting system, use sensors for lighting, reducing the luminosity of exhibition spaces when there is no visitor present in the room; 
- Encourage the implementation of green energy capture systems, such as the use of photovoltaic plates, wind energy systems, heat pumps, among others, in museums, galleries, technical reserves, libraries, archives; 
- Improve the insulation of the building to keep the indoor climate stable and use less energy on the HVAC systems; the roof and windows can be a big factor; 
- Microclimates for specific objects or materials groups may be more sustainable than controlling the environmental conditions of the whole collection; 
- Reuse packaging materials,  and encourage the design of standard packaging by types of objects;
- Use durable materials for packing that may be washed and re-used such as Tyvek or Mylar;  
- Keep track of materials to avoid over buying and eventually waste.
Heritage Preservation, in partnership with the Institute of Museum and Library Services, a U.S. federal agency, produced The Heritage Health Index. The results of this work was the report A Public Trust at Risk: The Heritage Health Index Report on the State of America's Collections, which was published in December 2005 and concluded that immediate action is needed to prevent the loss of 190 million artifacts that are in need of conservation treatment. The report made four recommendations: 
- Institutions must give priority to providing safe conditions for the collections they hold in trust.
- Every collecting institution must develop an emergency plan to protect its collections and train staff to carry it out.
- Every institution must assign responsibility for caring for collections to members of its staff.
- Individuals at all levels of government and in the private sector must assume responsibility for providing the support that will allow these collections to survive. 
In October 2006, the Department for Culture, Media and Sport, a governmental department, authored a document: "Understanding the Future: Priorities for England's Museums".  This document was based on several years of consultation aimed to lay out the government's priorities for museums in the 21st century.
The document listed the following as priorities for the next decade:
- Museums will fulfil their potential as learning resources (pp 7–10).
- Museums will be embedded into the delivery of education in every school in the country.
- Understanding of the effectiveness of museum education will be improved further and best practice built into education programmes.
- The value of museums' collections as a research resource will be well understood and better links built between the academic community and museums.
- Museums will embrace their role in fostering, exploring, celebrating and questioning the identities of diverse communities (pp 11–14).
- The sector needs to work with partners in academia and beyond to create an intellectual framework supporting museums' capacity to tackle issues of identity.
- The museum sector must continue to develop improved practical techniques for engaging communities of all sorts.
- Museums' collections will be more dynamic and better used (pp 15–18).
- Government and the sector will find new ways to encourage museums to collect actively and strategically, especially the record of contemporary society.
- The sector will develop new collaborative approaches to sharing and developing collections and related expertise.
- Museums' workforce will be dynamic, highly skilled and representative (pp 17–22).
- Museums' governing bodies and workforce will be representative of the communities they serve.
- Find more varied ways for a broader range of skills to come into museums.
- Improve continuing professional development.
- Museums will work more closely with each other and partners outside the sector (pp 23–26).
- A consistent evidence base of the contribution of all kinds of museums to the full range of public service agendas will be developed.
- There will be deeper and longer lasting partnerships between the national museums and a broader range of regional partners.
- Museums' international roles will be strengthened to improve museum programmes in this country and Britain's image, reputation and relationships abroad.
The conservation profession response to this report was on the whole less than favourable, the Institute of Conservation (ICON) published their response under the title "A Failure of Vision".  It had the following to say:
No sector can look with confidence to the future if its key asset is worked harder and harder across an ever broadening range of objectives while the inputs required to sustain it are neglected.
It is of major concern to us that the only part of this section which makes any acknowledgement of the need for greater resourcing is the part which refers to acquisitions. The original consultation paper made quite extensive reference to the importance of collections, the role of new technologies, and cultural property issues, but this appears to have been whittled away in the present document.
When asked by the Commons Culture Media and Sport elect Committee CMS committee what he would like to see as a priority in the DCMS document arising from the 'Understanding the Future' consultation, Mr MacGregor responded 'I would like to see added there the need to conserve and research the collections, so that the collections can really play the role across the whole of the United Kingdom that they should.' So would we.
Further to this the ICON website summary report  lists the following specific recommendations:
- A national survey to find out what the public want from museums, what motivates them to visit them and what makes for a rewarding visit.
- A review of survey results and prioritisation of the various intrinsic, instrumental and institutional values to provide a clear basis for a 10-year strategy
- HR consultants to be brought in from the commercial sector to review recruitment, career development and working practices in the national and regional museums.
- A commitment to examine the potential for using Museum Accreditation as a more effective driver for improving recruitment, diversity, and career development across the sector.
- DCMS to take full account of the eventual findings of the current Commons Select Committee enquiry into Care of Collections in the final version of this document
- The adoption of those recommendations of the recent House of Lords inquiry into Science and Heritage which might affect the future of museums.
In November 2008, the UK-based think tank Demos published an influential pamphlet entitled It's a material world: caring for the public realm,  in which they argue for integrating the public directly into efforts to conserve material culture, particularly that which is in the public, their argument, as stated on page 16, demonstrates their belief that society can benefit from conservation as a paradigm as well as a profession:
conservators provide a paradigm not just for fixing things when they are broken, but for a wider social ethos of care, where we individually and collectively take responsibility and action.
Training in conservation of cultural heritage for many years took the form of an apprenticeship, whereby an apprentice slowly developed the necessary skills to undertake their job. For some specializations within conservation this is still the case. However, it is more common in the field of conservation today that the training required to become a practicing conservator comes from a recognized university course in conservation of cultural heritage. 
The university can rarely provide all the necessary training in first hand experience that an apprenticeship can, and therefore in addition to graduate level training the profession also tends towards encouraging conservation students to spend time as an intern.
Conservation of cultural heritage is an interdisciplinary field as conservators have backgrounds in the fine arts, sciences (including chemistry, biology, and materials science), and closely related disciplines, such as art history, archaeology, and anthropology. They also have design, fabrication, artistic, and other special skills necessary for the practical application of that knowledge.
Within the various schools that teach conservation of cultural heritage, the approach differs according to the educational and vocational system within the country, and the focus of the school itself. This is acknowledged by the American Institute for Conservation who advise "Specific admission requirements differ and potential candidates are encouraged to contact the programs directly for details on prerequisites, application procedures, and program curriculum". 
In France, training for heritage conservation is taught by four schools : École supérieure d'art d'Avignon, L'École supérieure des Beaux-Arts Tours, Angers, Le Mans, L'Université Paris 1 Panthéon-Sorbonne, Institut national du patrimoine. 
Societies devoted to the care of cultural heritage have been in existence around the world for many years. One early example is the founding in 1877 of the Society for the Protection of Ancient Buildings in Britain to protect the built heritage, this society continues to be active today.  The 14th Dalai Lama and the Tibetan people work to preserve their cultural heritage with organizations including the Tibetan Institute of Performing Arts  and an international network of eight Tibet Houses.
The built heritage was at the forefront of the growth of member based organizations in the United States. Preservation Virginia, founded in Richmond in 1889 as the Association for the Preservation of Virginia Antiquities, was the United States' first statewide historic preservation group. 
Today, professional conservators join and take part in the activities of numerous conservation associations and professional organizations with the wider field, and within their area of specialization.
These organizations exist to "support the conservation professionals who preserve our cultural heritage". 
This involves upholding professional standards, promoting research and publications, providing educational opportunities, and fostering the exchange of knowledge among cultural conservators, allied professionals, and the public.
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- BCIN, the Bibliographic Database of the Conservation Information Network
- CAMEO: Conservation and Art Materials Encyclopedia OnLine
- Conservation OnLine (CoOL) Resources for Conservation Professionals
- DOCAM — Documentation and Conservation of the Media Arts Heritage
- ICOMOS Open Archive: EPrints on Cultural Heritage
- Publications & Resources at the Getty Conservation Institute