G327: Structure and Deterioration of Craft Materials
Course handbook
2015-2016
Top: Cyanotype image by C.R. O’Grady
Bottom: removal of burial encrustations with dilute acid image by N. Passerotti
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UCL - INSTITUTE OF ARCHAEOLOGY
G327: Structure and Deterioration of Craft Materials
2015-16
MA Principles of Conservation,
Year 1 Course: 15 credits
Turnitin Class ID: 2971229
Turnitin Password: IoA1516
Co-ordinator: Caitlin R. O’Grady
caitlin.r.ogrady@ucl.ac.uk
Room: 203 / Telephone number: 02076797487
Post-Graduate Teaching Assistant: Anjali Jain
anjali.jain.14@ucl.ac.uk
Please see the last page of this document for important information about submission and marking
procedures, or links to the relevant webpages.
This handbook contains basic information about the content and administration of this course. If you
have queries about the objectives, structure, content, assessment or organisation of the course,
please consult the Course Co-ordinator.
Further important information, relating to all courses at the Institute of Archaeology, is to be found
at http://www.ucl.ac.uk/archaeology/administration/students and in the general MA/MSc
handbook. It is your responsibility to read and act on it. It includes information about originality,
submission and grading of coursework; disabilities; communication; attendance; and feedback.
OFFICE HOURS: Thursdays 14.00-16.00 or by appointment
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1. OVERVIEW
ARCLG327 SHORT DESCRIPTION
This course introduces craft materials and their manufacture, while relating these processes to
observed deterioration mechanisms. Lectures will focus on understanding materials and their
manufacture through exposure to artefacts (UCL collections) and art objects (privately owned).
Laboratory sessions will provide students with the opportunity to practically manipulate traditional
craft materials and/or assess degradation. Through lectures and laboratories, students will begin to
define and understand the relationships between craft materials and degradation through assessment
of associated technology and underlying chemistry.
WEEK-BY-WEEK SUMMARY
TERM 1 2015
Week 1: 5 October
Lecture (rm. 209): Introduction to the course / Linking material structure, properties and degradation
Week 2: 12 October
Lecture (rm. 209): Understanding light: wave and particle duality and its effects on materials
Lab Activity (rm. 615): Spectrometry and examination of various light sources
Week 3: 19 October
Lecture (rm. 209): Colour production: how inorganic pigments and organic dyes produce colour; role
of trends in periodic table
Lab activity (rm. 615): Identifying pigments and dyes through their interaction with various light
sources
Week 4: 26 October
Lecture (rm. 209): Photography: relationships between light, image layers and substrates
Laboratory activity (rm. 615): Light sensitive materials – linking light and pigments thru chemistry
Week 5: 2 November
Lecture (rm. 209): Glass and ceramics: crystalline vs. non-crystalline materials
READING WEEK: 9 – 13 November (No Teaching)
Week 6: 16 November
Lecture (rm. 209): Metals: technology and redox
Dr. John Merkel
Week 7: 23 November (TBC)
Lecture (rm. 209): Calcium carbonate, lime plaster and plaster of Paris: pH and acids/bases
Laboratory (rm. 615): Exploring pH and the impact of acids/bases on materials
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Week 8: 30 November
Lecture (rm. 209): Polymers: structure/orientation, adhesive binders, film formation and solubility
Laboratory (rm. 615): Exploring adhesives – role of structure and solubility
Week 9: 7 December
Site visit: Natural History Museum London – Green Zone Minerals and Red Zone Earth Lab
Week 10: 14 December
Lecture (rm. 209): Polymers: paper structure and manufacturing methods
Basic texts
The following books and websites will give you a good introduction and knowledge of materials
chemistry, properties and degradation.
KHAN ACADEMY. 2014. Subject: Chemistry. [Online]. [Accessed 17 SEPTEMBER 2015]. Available from:
https://www.khanacademy.org/science/chemistry
KINGERY, W.D. 1996. “A role for materials science.” In: Learning from things: method and theory of
material culture studies. Ed. W.D. Kingery. Smithsonian Institution Press, Washington, D.C., pp. 175180.
INST ARCH BD KIN
KINGERY, W.D. 1996. “Materials science and material culture.” In: Learning from things: method and
theory of material culture studies. Ed. W.D. Kingery. Smithsonian Institution Press, Washington, D.C.,
pp. 181-203.
INST ARCH BD KIN
ROYAL SOCIETY OF CHEMISTRY. 2014. Periodic Table. [Online]. [Accessed 17 SEPTEMBER 2015].
Available from: http://www.rsc.org/periodic-table
Methods of Assessment
This course is assessed by three total pieces of assessment. These include 2 written reports totalling
4000 words and submission of laboratory notebook recording observations made during practical
sessions and include:
a. Short essay 1 – discussion/comparison of pigment/dye including chemistry, history,
degradation (35% weighting - 2000 words)
b. Short essay 2 – visual assessment and discussion of object: chemistry, materials and
method of manufacture, degradation (35% weighting - 2000 words)
c. Laboratory notebook (30% weighting)
The topics and deadlines for each assessment are discussed in the following section. If students are
unclear about the nature of an assignment, they should contact the Course Co-ordinator. The Course
Co-ordinator will be willing to discuss an outline of their approach to the assessment, provided this is
planned suitably in advance of the submission date.
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Teaching Methods
The course is taught over Term 1 of the 2015-2016 academic year and includes weekly lectures and
laboratory sessions (all are compulsory).
Teaching will take place on Mondays in IoA room 209 and conservation labs (rms. 615 and 617).
There is one museum site visit and future details regarding timing and meeting location are
forthcoming.
Please remember that students will be expected to wear appropriate clothing, footwear and lab
coats for these laboratory sessions held in the IoA basement labs.
Workload
There will be 150 hours for this course, which is divided in the following way:
Lectures
Demonstration/practical
Reading
Preparation and production of assessed work
20 hours
10 hours
40 hours
80 hours
Prerequisites
The course is introductory and assumes no previous knowledge of the subject. The lectures will
contain technical and scientific content. Basic knowledge of physics and chemistry would be an
advantage. However, it is intended that the course should be comprehensible to students of any
background.
2. AIMS, OBJECTIVES AND ASSESSMENT
Aims
The aims of the course are:
•
To introduce craft materials, their method of manufacture and associated deterioration
mechanisms

To provide an in-depth analysis of introduced artefacts by linking their chemical composition to
technology and deterioration

To provide students with the opportunity to understand and assess craft materials through
practical laboratories designed to recreate specific materials or test chemical
principles/relationships

To provide students with the opportunity to understand and assess artefacts and degradation
through observation and handling of selected artefacts from private and UCL collections
Objectives
On successful completion of this course a student should:

Understand various craft materials and link their composition and technology to expected
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degradation processes

Be able to identify specific qualities and characteristics that suggest the method of manufacture
and potential deterioration of observed artefacts and craft materials

Understand specific technological choices made during manufacturing and production that affect
artefact function, appearance, and degradation

Know how to relate craft material technology, method of manufacture and composition to
deterioration mechanisms
Learning Outcomes
The module is focused on the technology and history of craft materials, as well as their expected
chemical degradation mechanisms. Following completion of the course students will:

Be able to demonstrate a good understanding of the relationship between chemistry, technology
and degradation

Be able to evaluate the methods used to understand, reconstruct and interpret craft materials
used historically

Have a broad and comparative knowledge of classes of craft materials

Know how to relate technological choices to craft materials and their degradation
Coursework
Item 1: Essay 1 – Pigment/Dye (2000 words / 35% weighting)
This essay is a review of the literature focused on an assigned colorant with discussion of how colour
is produced, the pigment is identified visually/chemically, its history, how it is manufactured
including materials and technology, any associated degradation mechanisms and why the colourant
is important to study for conservators. This review is expected to survey the literature on the
assigned colourant, as well as critically assess/discuss the topics listed above. For the assigned
colorant, students should evaluate the literature and identify future areas of research.
Your paper MUST include a 100 word abstract summarizing your review.
Guides on writing literature reviews, as well as examples can be found on the following websites:
http://library.bcu.ac.uk/learner/writingguides/1.04.htm
http://www.reading.ac.uk/internal/studyadvice/StudyResources/Essays/sta-startinglitreview.aspx
http://www2.le.ac.uk/offices/ld/resources/writing/writing-resources/literature-review
The use of images, tables, diagrams are encouraged for this assignment. Additional guidelines
regarding the report format will be made available in future class sessions.
Please submit an electronic version to caitlin.r.ogrady@ucl.ac.uk with high resolution images in
addition to that submitted to Turnitin and the paper copy.
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The completed project should be handed in no later than Wednesday 18 November 2015.
Item 2: Essay 2 – Object Description (2000 words / 35% weighting)
The second essay will focus on the description and technological assessment of an assigned object.
Students are expected to visually assess (magnification, visible light/ultraviolet illumination) the
object and make observations regarding the materials and technology used in its construction;
evidence of use-wear; and comment on any observed degradation mechanisms. Potential
deterioration, as predicted by the materials, technology and way in which the object is potentially
used, based on visual inspection should also be addressed.
Your paper MUST include a 100 word abstract summarizing your conclusions regarding your object.
The use of images, tables, diagrams are encouraged for this assignment. Additional guidelines
regarding the report format will be made available in future class sessions.
Please submit an electronic version to caitlin.r.ogrady@ucl.ac.uk with high resolution images in
addition to that submitted to Turnitin and the paper copy.
The completed project should be handed in no later than Monday 14 December 2015.
Item 3: Laboratory Notebook (30% weighting)
Students are required to prepare notes and observations in a formal notebook DURING each of the
five laboratory sessions and the one museum site visit. It is imperative to record your observations
about components of the laboratory sessions as you observe them.
Additional guidelines regarding the laboratory notebook format will be made available in future class
sessions.
The laboratory notebook is due on Monday 14 December 2015 by 17.00. Please submit this directly
to the course instructor.
If students are unclear about the nature of an assignment, they should discuss this with the Course
Co-ordinator. Students are not permitted to re-write and re-submit essays in order to try to improve
their marks. However, the Course Co-ordinator is willing to discuss an outline of the student's
approach to the assignment, provided this is planned suitably in advance of the submission date.
Word Counts
The following should not be included in the word-count: title page, contents pages, lists of figure
and tables, abstract, preface, acknowledgements, bibliography, lists of references, captions and
contents of tables and figures, appendices.
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3,000
2
2,850-3,150
Penalties will only be imposed if you exceed the upper figure in the range. There is no penalty for
using fewer words than the lower figure in the range: the lower figure is simply for your guidance to
indicate the sort of length that is expected.
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3. SCHEDULE AND SYLLABUS
Teaching schedule
Lectures and demonstrations/practical sessions will be held from 2.00 – 6.00 on Mondays in room
209 and conservation laboratories (rms. 615 and 617). Lectures will be followed by a practical
session.
Please note that some lectures are subject to finalisation of the arrangements and discussion with
the class. Further details will be announced closed to the date.
Owing to the wide variety of techniques taught during the course practical sessions may be
scheduled at slightly different times each week and in various locations depending on the subject
taught, therefore it is important that you check your timetable at the beginning of each week.
Except in the case of illness, the 70% minimum attendance requirement applies to all aspects of the
course (lectures, practicals and demonstrations).
Syllabus (detailed lecture summaries and weekly readings)
The following is an outline for the course as a whole, and identifies essential and supplementary
readings relevant to each session. Information is provided as to where in the UCL library system
individual readings are available; their location and Teaching Collection (TC) number, and status
(whether out on loan) can also be accessed on the eUCLid computer catalogue system. Readings
marked with an * are considered essential to keep up with the topics covered in the course. Copies of
individual articles and chapters identified as essential reading are in the Teaching Collection in the
Institute Library (where permitted by copyright) or are available online.
Students should check their e-mail frequently as any changes to arrangements and other messages
will be communicated by this means.
Term 1
2015
Week 1: 5 October 2015
Caitlin R. O’Grady: Introduction to the course and Linking material structure, properties and
degradation
During the first week of class, students will be introduced to the course, its structure, syllabus, aims,
objectives, methods of assessment, etc. Each session will incorporate a case study focused on the
introduced topic as presented in an assigned reading, which students will be expected to discuss and
comment during the lecture. The course timetable will be discussed in depth as there are a number
of practical sessions, and locations to be accommodated. Following an introduction to the course,
the first lecture will focus on the relationships between material structure, properties and
degradation.
COTTERILL, R. 1985. “From mine, quarry, and well: Minerals.” The Cambridge Guide to the Material
World. Cambridge: University of Cambridge Press, pp. 99-118.
INST ARCH JB Qto COT
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HODGES, H. 1989. “15. Some Other Materials Part II: The Examination of Artifacts,” and
“16. General Principle.” In Artifacts: an introduction to early materials and technology. London:
Duckworth.
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KINGERY, W.D. 1996. “A role for materials science.” In: Learning from things: method and theory of
material culture studies. Ed. W.D. Kingery. Smithsonian Institution Press, Washington, D.C., pp. 175180.
INST ARCH BD KIN
KINGERY, W.D. 1996. “Materials science and material culture.” In: Learning from things: method and
theory of material culture studies. Ed. W.D. Kingery. Smithsonian Institution Press, Washington, D.C.,
pp. 181-203.
INST ARCH BD KIN
Week 2: 12 October 2015
Caitlin R. O’Grady: Understanding light: wave and particle duality and its effects on materials
This lecture will focus on the physics of light including its wave/particle duality. Key concepts to be
discussed include the electromagnetic spectrum, the interaction between light and with materials
and how we see colour.
*BAILÃO, A. and S. ŠUSTIC. 2013. “Retouching with mica pigments,” e-conservation journal 1:45-60.
[Online]. [Accessed 8 September 2015]. Available from:
http://www.e-conservation.org/issue-1/18-retouching-with-mica-pigments
BRILL, T.B. 1980. Light: its interaction with art and antiquities. New York and London: Plenam Press.
INST ARCH L BRI
*CONSENTINO, A. 2014. “Identification of pigments by multispectral imaging; a flowchart method,”
Heritage science 2(8): 12 pages. [Online]. [Accessed 29 September 2015]. Available from:
http://www.heritagesciencejournal.com/content/pdf/2050-7445-2-8.pdf
COSTELLO, K. 2008. “Experiment #7: light as a tool spectroscope,” Chemistry 107 Laboratory.
[Online]. [Accessed 8 September 2015]. Available from:
http://www.chemistryland.com/CHM107Lab/Exp7/Spectroscope/Spectroscope.html
*FEINBERG, G. 1968. “Light,” Scientific American 219: 50-75.
KUEHNI, R.G. 1997. Color: an introduction to practice and principles. 2nd edition. New York: John Wiley
& Sons, Inc.
Bartlett ND1488 .K82 2005
NASSAU, K. 2001. The physics and chemistry of color. 2nd edition. New York: Wiley.
PHYSICS L 5 NAS
*THE UNIVERSITY OF SYDNEY SCHOOL OF CHEMISTRY. 2008. “Colour and light.” [Online]. [Accessed 8
September 2015]. Available from:
https://scilearn.sydney.edu.au/fychemistry/calculators/colour_wheel.shtml
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Case study article: OSMOND, G. 1993. “Accelerated deterioration of artists’ oil paints: an assessment
involving ultraviolet fluorescence microscopy.” In ICOM Committee for Conservation tenth triennial
meeting, Washington, DC, 22-27 August 1993: preprints, Volume 1. Ed. J. Bridgland. Paris: ICOM
Committee for Conservation, pp. 239-247.
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Laboratory Session 1: Students will make their own spectrometer and characterize multiple light
sources to understand the various ways the electromagnetic spectrum interacts with materials.
Week 3: 19 October 2015
Caitlin R. O’Grady: Colour Production: how inorganic pigments and organic dyes produce colour
Inorganic pigments and organic dyes will be discussed with special reference to their elemental
composition/structure, as well as the ways these characteristics produce colour. Students will also be
introduced to a broad history of pigment and dyes used throughout history.
*BEMISS, E. 1806. The Dyer’s Companion in two parts. London: Cady & Eells. [Online]. [Accessed 2
August 2015]. Available from: https://archive.org/details/dyerscompanion00bemi
*BYTESIZESCIENCE. 2013. “The chemistry of natural dyes.” Published 15 October 2013. [Online].
[Accessed 9 September 2015]. Available from: https://youtu.be/Gwk1B66dvAM
*CENNINI, C. 1933. Il Libro dell’Arte. Trans. D.V. Thompson. New York: Dover Publications, Inc.
[Online]. [Accessed 2 August 2015]. Available from: http://www.noteaccess.com/Texts/Cennini/
DOUMA, M. and J. LIPSCHER. Pigments through the ages. Institute for Dynamic Educational
Advancement. [Online]. [Accessed 2 August 2015]. Available from:
http://www.webexhibits.org/pigments/
HARLEY, R.D. 2001. Artists’ pigments c. 1600-1835: a study in English documentary sources. 2nd
Revised Edition. London: Archetype Publications.
INST ARCH JDJ HAR
MIKROPOULOU, E., E. EUPHORIA, and E.A. VARELLA. 2009. “Revival of traditional European dyeing
techniques yellow and red colorants,” Journal of Cultural Heritage 10(4): 447-457.
PRICE, H. 2002. The chemistry of dyes. [Online]. [Accessed 2 August 2015]. Available from:
http://www.chm.bris.ac.uk/webprojects2002/price/first%20page.htm
SHAKHASHIRI, B.Z. 2012. “Chemical of the week: fireworks!” Science is fun in the lab of Shakhashiri.
[Online]. [Accessed 8 September 2015]. Available from:
http://scifun.chem.wisc.edu/chemweek/fireworks/fireworks.htm
*THOMPSON. D.V. 1956. The materials and techniques of medieval painting. New York: Dover
Publications.
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Additional references:
BERRIE, B.H. ed. 2007. Artists' pigments: a handbook of their history and characteristics. Volume 4.
Washington/London: National Gallery of Art/Archetype Publications (distributer).
INST ARCH JDJ ART
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EASTAUGH, N., V. WALSH, T. CHAPLIN and R. SIDDALL. 2004. The pigment compendium: a dictionary
and optical microscopy of historical pigments. Amsterdam/London: Elsevier Butterworth-Heinemann.
Available online through UCL libraries.
FELLER, R.L. ed. 1986. Artists' pigments: a handbook of their history and characteristics. Volume 1.
Washington/London: National Gallery of Art/Archetype Publications (distributer).
INST ARCH JDJ FEL
FITZHUGH, E.W. ed. 1997. Artists' pigments: a handbook of their history and characteristics. Volume
3. Washington/Oxford: National Gallery of Art/Oxford University Press (distributor).
INST ARCH JDJ ART
HOFENK DE GRAAFF, J.H. 2004. The colourful past: origins, chemistry and identification of natural
dyestuffs. Riggisberg and London: Abegg-Stiftung and Archetype Publications.
KIRBY, J., ed. 2001. Dyes in history and archaeology 16/17: Papers presented at the 16th meeting,
Lyons, 1998, and the 17th Meeting, Greenwich, 1998. London: Archetype Publications.
INST ARCH JDJ DYE
KIRBY, J., ed. 2002. Dyes in history and archaeology 18: papers presented at the 18th meeting,
Brussels, 1999. London: Archetype Publications.
INST ARCH JDJ DYE
KIRBY, J., ed. 2003. Dyes in history and archaeology 19: papers presented at the 19th meeting,
Edinburgh, 2000. London: Archetype Publications.
INST ARCH JDJ DYE
KIRBY, J., ed. 2003. Dyes in history and archaeology 20: papers presented at the 20th meeting,
Amsterdam, 2007. London: Archetype Publications.
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KIRBY, J., ed. 2008. Dyes in history and archaeology 21: papers presented at the 21st meeting,
Avignon and Lauris, France, 2002. London: Archetype Publications.
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LEGGETT, W.F. 2009. Ancient and medieval dyes. Landisville, Pennsylvania: Coachwhip Publications.
INST ARCH JDJ LEG
ROY, A. ed. 1993. Artists' pigments: a handbook of their history and characteristics. Volume 2.
Washington/Oxford: National Gallery of Art/Oxford University Press (distributor).
INST ARCH JDJ ART
Case study article: VERRI, G. 2009. “The spatially resolved characterization of Egyptian blue, Han blue
and Han purple by photo-induced luminescence digital imaging.” Analytical and bioanalytical
chemistry 394(4): 1011-1021.
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Laboratory Session 2: Students will explore the identification of pigments and dyes through their
physical properties, interaction with various wavelengths of the electromagnetic spectrum and
chemical reactivity.
Week 4: 26 October 2015
Caitlin R. O’Grady: Photography: relationship between light, image layers and substrates
This session will focus on the production of image layers and their interaction with light through their
chemical/physical relationships. Early photographic processed will be the focus.
*BOYD, J.E. 2010. “Silver and sunlight: the science of early photography,” Chemical heritage
magazine 28(2): 20-25. [Online]. [Accessed 2 August 2015]. Available from:
http://www.chemheritage.org/discover/media/magazine/articles/28-2-silver-and-sunlight.aspx
*BYTESIZESCIENCE. 2012. “A brief history of photography: innovations in chemistry.” [Online].
[Accessed 2 August 2015]. Available from:
http://youtu.be/Mh42xZQL6-k?list=UUeYmwVIKjh29F5WBdhbEZiQ
GEORGE EASTMAN HOUSE. 2011. Making a tintype. [Online]. [Accessed 2 August 2015]. Available
from:
http://youtu.be/fY5KQQLBbcs
HESS, D.H. and J.J. GUTIERREZ, 2010. Issues in the conservation of photographs. Readings in
Conservation. Los Angeles: The Getty Conservation Institute.
ART T NOR
LAVÉDRINE, B. 2009. Photographs of the past: process and preservation. Los Angeles: The J. Paul Getty
Trust.
SCIENCE ARCHIVES K 11 LAV
*STULIK, D.C. and A. KAPLAN. Cyanotype. The Atlas of Analytical Signatures of Photographic
Processes. Los Angeles: The Getty Conservation Institute. [Online]. [Accessed 22 September 2015].
Available from:
http://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_cyanotype.p
df
*THE GETTY MUSEUM. 2012. Early photography: making daguerreotypes. [Online]. [Accessed 2
August 2015]. Available from:
http://youtu.be/N0Ambe4FwQk
*WARE, M. 1998. Cyanotype: the history, science and art of photographic printing in Prussian blue.
London: Science Museum and National Museum of Photography, Film & Television.
STORE 06-0215/121
*WARE, M. 2003. “A blueprint for conserving cyanotypes,” Topics in photographic preservation, 10: 218. [Online]. [Accessed 29 September 2015]. Available from: http://cool.conservationus.org/coolaic/sg/topics/v10/pmgt10-004.pdf
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Case study articles: FREIFELD, K. 2004. “Prussian blue, blue print, cyanotype chemicals are cyanides,
says EPA,” Arts, crafts and theatre safety (ACTS) newsletter 18(2): 1-2. [Online]. [Accessed on 29
September 2015]. Available from: http://www.conservation-us.org/docs/defaultsource/periodicals/acts_facts_2004_vol18.pdf?sfvrsn=2
GERVAIS, C., M.A. LANGUILLE, S. REGUER, M. GILLET, S. PELLETIER, C. GARNIER, E.P. VICENZI and L.
BERTRAND. 2013. “Why does Prussian blue fade? Understanding the role(s) of the substrate,” Journal
of analytical atomic spectroscopy 28(10): 1600-1609.
Laboratory Session 3: Students will make cyanotypes and explore the relationships between
chemistry, light sensitivity and pigments in early photographic methods.
Week 5: 2 November 2015
Caitlin R. O’Grady: Glass and ceramics: crystalline vs. non-crystalline materials
Crystalline and non-crystalline materials will be explored through introduction to ceramic and glass
technologies. Material properties and their resulting structure will also be explored and how they can
be manipulated through composition and manufacturing.
*KINGERY, W.D. and P.B. VANDIVER. 1986. Ceramic masterpieces: art, structure, technology. New
York: Macmillan USA.
INST ARCH KD KIN
KOOB, S.P., 2006. Conservation and care of glass objects. London and Corning, NY: Archetype
Publications and The Corning Museum of Glass.
INST ARCH KL KOO
*NEWTON, R. and S. DAVISON, 1997. Conservation of glass. Oxford: Butterworth-Heinemann.
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PARMELEE, C.W. 1951. Ceramic Glazes. 2nd edition. Eds. E.D. Lynch and A.L. Friedberg. Chicago,
Illinois: Industrial Publications, Inc.
NST ARCH KD 1 PAR
*RYE, O.S. 1981. Pottery technology: principles and reconstruction. Manuals on Archaeology – 4.
Washington: Taraxacum.
INST ARCH KD 1 RYE
*SHEPARD, A. O. 1980. Ceramics for the archaeologist. Publication 609. Washington, D.C.: Carnegie
Institute of Washington. [Online]. [Accessed 2 August 2015]. Available from:
http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&ved=0CCsQFjAB&url=http
%3A%2F%2Fcarnegiescience.edu%2Fpublications_online%2FCeramics_arch.pdf&ei=lwcXVMDuIu6p7
Aaw2YCgCA&usg=AFQjCNEqLNdtuEbHwyLHZVh9JTdrcUEb5w&sig2=tVuEQanSymc8AaErTaL9_A&bv
m=bv.75097201,d.d2s
THEOPHILUS. 1979. On divers arts: the foremost medieval treatise on painting, glassmaking and
metalwork. Trans. J.G. Hawthorne and C.S. Smith. New York: Dover.
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Case study article: VAN KEUREN, S., H. NEFF, and M.R. AGOSTINI. 2013. “Glaze-paints, technological
knowledge, and ceramic specialization in the fourteenth-century Pueblo Southwest,” Journal of
anthropological archaeology 32(4): 675-690.
Reading Week 9 – 13 November 2015 (No Teaching)
Week 6: 16 November 2015
John F. Merkel: Metals: technology and redox
The chemistry and structure of metals will be introduced in relation to technology. The concept of
REDOX – oxidation/reduction and its role in both manufacturing and degradation will be discussed.
*BBC HOME. 2003. Riddle of ‘Baghdad’s batteries’. [Online]. [Accessed 2 August 2015]. Available
from:
http://news.bbc.co.uk/1/hi/sci/tech/2804257.stm
DRAYMAN-WEISSER, T. 2000. Gilded metals: history, technology and conservation. London:
Archetype Publications in association with The American Institute for Conservation of Historic and
Artistic Works.
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*GETTENS, R.J., 1970. “Patina noble and vile.” In Art and technology: a symposium on Classical
bronzes. Ed. S. Doerringer. MIT Press: Cambridge, Massachusetts, pp. 57-72.
INST ARCH KN 5 DOE
MATTUSCH, C.M. 1996. The fire of Hephaistos: large classical bronzes from North American
collections. Cambridge, MA: Harvard University Art Museums.
YATES QUARTOS M 130 MAT
MARYON, H. 1954. Metalwork and enamelling: a practical treatise on gold and silversmiths' work and
their allied crafts. 3rd revised edition. London: Chapman & Hall.
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SCOTT, D. 2002. Copper and bronze in art: corrosion, colorants, conservation. Los Angeles: The Getty
Conservation Institute.
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SCOTT, D.A. and G. EGGERT. 2009. Iron and steel in art: corrosion, colorants, conservation. London:
Archetype Publications.
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*SCOTT, D.A., J. PODANY, and B.B. CONSIDINE. 1994. Ancient & historic metals: conservation and
scientific research: proceedings of a symposium organized by the J. Paul Getty Museum and the Getty
Conservation Institute, November 1991. Marina del Rey, CA: Getty Conservation Institute. [Online].
[Accessed 2 August 2015]. Available from:
http://www.getty.edu/conservation/publications_resources/pdf_publications/ancientmetals.html
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SELWYN, L. 2004. Metals and corrosion: a handbook for the conservation professional. Ottawa:
Canadian Conservation Institute.
INST ARCH KEB SEL
*UCDAVIS CHEM WIKI. Metallurgy. [Online]. [Accessed 23 September 2015]. Available from:
http://chemwiki.ucdavis.edu/Inorganic_Chemistry/Descriptive_Chemistry/dBlock_Elements/Metallurgy
No case study article this week.
Week 7: 23 November 2015
Caitlin R. O’Grady: Lime plaster and plaster of Paris: pH and acids/bases
The properties of pH will be explored through the exploration of calcium carbonate, lime plaster and
plaster of Paris materials. Used to manufacture a variety of craft materials, their interaction with
acids and bases will be discussed as they relate to the manipulation and deterioration mechanisms.
BOYNTON, R.S. 1980. Chemistry and technology of lime and limestone. 2nd edition. Chichester: Wiley.
ENGINEERING QC 92 BOY
CATHER, S., ed. 1991. The conservation of wall paintings: Proceedings of a symposium organized by
the Courtauld Institute of Art and the Getty Conservation Institute, London, July 13-16 1987. Los
Angeles: The J. Paul Getty Trust. [Online]. [Accessed 2 August 2015]. Available from:
http://www.getty.edu/publications/virtuallibrary/089236162X.html
*DAL, P.H. and W.J.H. BERDEN, 1965. “The ageing of plaster of Paris in relation to its equilibrium
water-content.” In Science of ceramics: proceedings of a conference held ... under the auspices of the
British Ceramic Society and the Nederlandse Keramische Vereniging 3. Ed. G.H. Stewert. London:
Academic Press, pp. 95-108.
INST ARCH KD 2 STE
GIBBONS, P., S. NEWSOM, and E. WHITFELD, 2004. Care and conservation of 17th century plasterwork
in Scotland. Technical Advice Note, 26. Edinburgh: Historic Scotland.
Bartlett NA3690 .G53 2004
*KAKOULLI, I. 1997. "Roman wall paintings in Cyprus: a scientific investigation of their technology." In
Roman wall painting: materials, techniques, analysis and conservation. Proceedings of the
international workshop, Fribourg, 7-9 March 1996. Eds. H. Bearat, M. Fuchs, M. Maggetti, and D.
Paunier. Fribourg: Institute of Mineralogy and Petrography, pp. 131-141.
INST ARCH KN 1 BEA
*UCDAVIS CHEM WIKI. The pH scale. [Online]. [Accessed 23 September 2015]. Available from:
http://chemwiki.ucdavis.edu/Physical_Chemistry/Acids_and_Bases/Aqueous_Solutions/The_pH_Scal
e#Self-Ionization_of_Water
Case study article: BYNE, L.S.G. “The corrosion of shells in cabinets.” In Historical perspectives on
preventive conservation, ed. S. Staniforth. Readings in conservation, 6. Los Angeles: The Getty
Conservation Institute, pp. 276-285.
15
Laboratory Session 4: Students will explore pH and its relationship to artistic materials through
examination and testing of calcium carbonate, lime plaster and plaster of Paris materials.
Week 8: 30 November 2015
Caitlin R. O’Grady: Polymers: structure, directionality, adhesives and solubility
This lecture will look at the structure and directionality of polymers in relationship to specific
properties. Adhesives used in conservation will also be discussed.
ALLEN, N.S., M.D. EDGE and C.V. HORIE. 1992. Polymers in conservation. Cambridge: Royal Society of
Chemistry.
INST ARCH JDE ALL
GETTENS, R.J. and G.L. STOUT. 1966. Painting materials: A short encyclopedia. New York: Dover
Publications.
ART TD 10 GET
*HORIE, V. 2010. Materials for conservation: organic consolidants, adhesives and coatings. 2nd edition.
Oxford: Butterworth-Heinemann.
INST ARCH JDE HOR
MILLS, J.S. and R. WHITE. 1994. The Organic Chemistry of Museum Objects. 2nd edition. Oxford:
Butterworth- Heinemann.
INST ARCH JDB MIL
*MUSEUMS AND GALLERIES COMMISSION. Adhesives and Coatings. Science for Conservators, Volume
3. Conservation Science Teaching Series. London: Routledge.
INST ARCH JDE CRA
*SHASHOUA, Y. 2008. Conservation of plastics: materials science, degradation and preservation.
Amsterdam/London: Butterworth-Heinemann.
INST ARCH LA SHA
Case study article: HORELICK, L.A., K. MCHUGH, and O. MADDEN. 2011. “What’s going on with guts:
assessing adhesives used to repair cultural objects made of gut skin.” In Adhesives and consolidants
for conservation: research and applications symposium proceedings / Adhésifs et consolidants pour la
conservation: recherche et applications: les actes. Ottawa: Canadian Conservation Institute. [Online].
[Accessed 29 September 2015]. Available from: http://www.cci-icc.gc.ca/discoverccidecouvriricc/symposium/2011symposium-eng.aspx
Laboratory Session 5: Properties including structure and solubility of various adhesives will be
investigated.
Week 9: 7 December 2015
Site Visit: Natural History Museum – Green Zone Minerals and Red Zone Earth Lab (2 pm – 4 pm)
16
During a visit to the Natural History Museum London, students will look at the geological collections in
particular to assess how people use these raw materials – and in particular their chemical composition
and structure – as the basis of craft and artistic and production.
Natural History Museum Floor Plans: http://www.nhm.ac.uk/visit-us/galleries/floorplans/index.html
Site visit observations: Students are expected to record their observations regarding the minerals and
geological specimens on display in the Natural History Museum in their laboratory notebooks.
Students should discuss the physical, chemical and structural relationships between specimens and
their use in the production of art/craft objects.
No case study article this week.
Week 10: 14 December 2015
Caitlin R. O’Grady: Polymers: paper structure and manufacturing methods
This session will focus on the foundation of paper chemistry, as a natural polymer. Paper technology
and manufacturing methods will also be explored.
BARAŃSKI, A., D. DUTKA, R. DZIEMBAJ, A. KONIECZNA-MOLENDA, J.M. ŁAGAN. 2004. “Effect of
relative humidity on the degradation rate of cellulose: methodology studies,” Restaurator:
international journal for the preservation of library and archival material 25(1): 68-74.
*BELL, L.A. 1983. Plant fibers for papermaking. 2nd revised edition. McMinnville, Oregon: Liliaceae.
INST ARCH KH BEL
DACUS HAMM, P. 1992. “The history of the manufacture of printing ink from 1500-1900 with notes
for the conservator.” In The Institute of Paper Conservation: conference papers, Manchester, 1992.
Ed. S. Fairbrass, p. 30-35. Leigh, United Kingdom: Institute of Paper Conservation.
INST ARCH KH Qto FAI
*HUNTER, D. 1947. Papermaking: the history and technique of an ancient craft. New York: Dover
Publications.
INST ARCH KH HUN
1 week
MANSO, M. and M.L. CARVALHO, 2009. “Application of spectroscopic techniques for the study of
paper documents: a survey,” Spectrochimica acta. Part b, atomic spectroscopy 64(6): 482-490.
NEEDHAM, J. 1974. “Part 1. paper and printing by Tsien Tsuen-Hsuin.” Science and civilization in
China. Volume 5, chemistry and chemical technology. London: Cambridge University Press.
INST ARCH DBL Series CHI 5/11
*TUMOSA, C.S., D. EEHARDT, K. HUFFORD, and E. QUASNEY, 2008. “The deterioration of newsprint
and implications for its preservation,” Newsletter (Western Association for Art Conservation) 30(3):
21-24. [Online]. [Accessed 2 August 2015]. Available from:
http://cool.conservation-us.org/waac/wn/wn30/wn30-3/
17
Case study article: BOGAARD, J., H.R. MORRIS, and P.M. WHITMORE. 2005. “A method of the
aqueous deacidification of oxidized paper,” Journal of the American Institute for Conservation 44(2):
63-74.
4 ONLINE RESOURCES
The full UCL Institute of Archaeology coursework guidelines are given here:
http://www.ucl.ac.uk/archaeology/administration/students/handbook
The full text of this handbook is available here (includes clickable links to Moodle and online reading
lists)
http://www.ucl.ac.uk/archaeology/administration/staff/handbook
Online reading list
The online reading list for this course can be found via the Moodle site for this course.
Moodle
There is a Moodle course associated with this core unit, please make sure you sign up so that you can
benefit from the extra resources available in this location. The course title is as follows: ARCLG327
Structure and Deterioration of Craft Materials and you can log in to the Moodle system here:
http://moodle.ucl.ac.uk/login/
5 ADDITIONAL INFORMATION
LIBRARIES AND OTHER RESOURCES
In addition to the Library of the Institute of Archaeology, other libraries in UCL with holdings of
particular relevance to this course are:
Main Library, Wilkins Building, Gower Street, WC1E 6BT
Bartlett Library, Ground Floor, Central House, 14 Upper Woburn Place, WC1H 0NN
Science library, DMS Watson Building, Malet Place, London, WC1E 6BT
Libraries outside of UCL which have holdings which may also be relevant to this degree are:
The British Museum Conservation Department Library to which you are admitted as a conservation
student of this institute (see separate leaflet on access to, and rules for the use of, this library).
INFORMATION FOR INTERCOLLEGIATE AND INTERDEPARTMENTAL STUDENTS
Students enrolled in Departments outside the Institute should obtain the Institute’s coursework
guidelines from Judy Medrington (email j.medrington@ucl.ac.uk), which will also be available on the
IoA website.
HEALTH AND SAFETY
The Institute has a Health and Safety policy and code of practice which provides guidance on
laboratory work, etc. This is revised annually and the new edition will be issued in due course. All
work undertaken in the Institute is governed by these guidelines and students have a duty to be
aware of them and to adhere to them at all times. This is particularly important in the context of the
laboratory work which will be undertaken as part of this course.
18
19
APPENDIX A: POLICIES AND PROCEDURES 2015-16 (PLEASE READ CAREFULLY)
This appendix provides a short précis of policies and procedures relating to courses. It is not a
substitute for the full documentation, with which all students should become familiar. For full
information on Institute policies and procedures, see the following website:
http://wiki.ucl.ac.uk/display/archadmin
For UCL policies and procedures, see the Academic Regulations and the UCL Academic Manual:
http://www.ucl.ac.uk/srs/academic-regulations ; http://www.ucl.ac.uk/academic-manual/
GENERAL MATTERS
ATTENDANCE: A minimum attendance of 70% is required. A register will be taken at each class. If you
are unable to attend a class, please notify the lecturer by email.
DYSLEXIA: If you have dyslexia or any other disability, please discuss with your lecturers whether
there is any way in which they can help you. Students with dyslexia should indicate it on each
coursework cover sheet.
COURSEWORK
SUBMISSION PROCEDURES: You must submit a hardcopy of coursework to the Co-ordinator's
pigeon-hole via the Red Essay Box at Reception (or, in the case of first year undergraduate work, to
room 411a) by stated deadlines. Coursework must be stapled to a completed coversheet (available
from IoA website; the rack outside Room 411A; or the Library). You should put your Candidate
Number (a 5 digit alphanumeric code, found on Portico. Please note that this number changes each
year) and Course Code on all coursework. It is also essential that you put your Candidate Number
at the start of the title line on Turnitin, followed by the short title of the coursework (example:
YBPR6 Funerary practices).
LATE SUBMISSION: Late submission is penalized in accordance with UCL regulations, unless
permission for late submission has been granted. The penalties are as follows: i) A penalty of 5
percentage marks should be applied to coursework submitted the calendar day after the deadline
(calendar day 1); ii) A penalty of 15 percentage marks should be applied to coursework submitted on
calendar day 2 after the deadline through to calendar day 7; iii) A mark of zero should be recorded for
coursework submitted on calendar day 8 after the deadline through to the end of the second week of
third term. Nevertheless, the assessment will be considered to be complete provided the coursework
contains material than can be assessed; iv) Coursework submitted after the end of the second week of
third term will not be marked and the assessment will be incomplete.
GRANTING OF EXTENSIONS: New UCL-wide regulations with regard to the granting of extensions for
coursework have been introduced with effect from the 2015-16 session. Full details will be circulated
to all students and will be made available on the IoA intranet. Note that Course Coordinators are no
longer permitted to grant extensions. All requests for extensions must be submitted on a new UCL
form, together with supporting documentation, via Judy Medrington’s office and will then be referred
on for consideration. Please be aware that the grounds that are now acceptable are limited. Those
with long-term difficulties should contact UCL Student Disability Services to make special
arrangements.
TURNITIN: Date-stamping is via Turnitin, so in addition to submitting hard copy, you must also
submit your work to Turnitin by midnight on the deadline day. If you have questions or problems
with Turnitin, contact ioa-turnitin@ucl.ac.uk.
RETURN OF COURSEWORK AND RESUBMISSION: You should receive your marked coursework within
four calendar weeks of the submission deadline. If you do not receive your work within this period,
20
or a written explanation, notify the Academic Administrator. When your marked essay is returned to
you, return it to the Course Co-ordinator within two weeks. You must retain a copy of all coursework
submitted.
WORD LENGTH: Essay word-lengths are normally expressed in terms of a recommended range. Not
included in the word count are the bibliography, appendices, tables, graphs, captions to figures,
tables, graphs. You must indicate word length (minus exclusions) on the cover sheet. Exceeding the
maximum word-length expressed for the essay will be penalized in accordance with UCL penalties for
over-length work.
CITING OF SOURCES and AVOIDING PLAGIARISM: Coursework must be expressed in your own
words, citing the exact source (author, date and page number; website address if applicable) of any
ideas, information, diagrams, etc., that are taken from the work of others. This applies to all media
(books, articles, websites, images, figures, etc.). Any direct quotations from the work of others must
be indicated as such by being placed between quotation marks. Plagiarism is a very serious
irregularity, which can carry heavy penalties. It is your responsibility to abide by requirements for
presentation, referencing and avoidance of plagiarism. Make sure you understand definitions of
plagiarism and the procedures and penalties as detailed in UCL regulations:
http://www.ucl.ac.uk/current-students/guidelines/plagiarism
RESOURCES
MOODLE: Please ensure you are signed up to the course on Moodle. For help with Moodle, please
contact Nicola Cockerton, Room 411a (nicola.cockerton@ucl.ac.uk).
21
INSTITUTE OF ARCHAELOGY COURSEWORK PROCEDURES
General policies and procedures concerning courses and coursework, including submission
procedures, assessment criteria, and general resources, are available in your Degree Handbook and
on the following website: http://wiki.ucl.ac.uk/display/archadmin. It is essential that you read and
comply with these. Note that some of the policies and procedures will be different depending on
your status (e.g. undergraduate, postgraduate taught, affiliate, graduate diploma, intercollegiate,
interdepartmental). If in doubt, please consult your course co-ordinator.
GRANTING OF EXTENSIONS:
New UCL-wide regulations with regard to the granting of extensions for coursework have been
introduced with effect from the 2015-16 session. Full details will be circulated to all students and
will be made available on the IoA intranet. Note that Course Coordinators are no longer permitted
to grant extensions. All requests for extensions must be submitted on a new UCL form, together with
supporting documentation, via Judy Medrington’s office and will then be referred on for
consideration. Please be aware that the grounds that are now acceptable are limited. Those with
long-term difficulties should contact UCL Student Disability Services to make special arrangements.
22