chapter –5 the preservation and conservation of jaina...
TRANSCRIPT
CHAPTER –5
The Preservation and Conservation of Jaina
Illustrated Manuscripts
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CHAPTER –5
The Preservation and Conservation of Jaina Illustrated Manuscripts
What is a Museum?
The term “Museum” is derived from Greek word “museion” which means the temple of the Museus, the goddesses protecting arts and science1. The Museion was founded by Ptolemais I (who died in 283 B.C.) in Alexandria, was centre of learning and scholarship in the world of ancient Greece and an important establishment of Hellenic Civilization, housing rich Collection.2
During 9th to 12th centuries of the middle ages of European history, museum stood as the “House of Relics”. Its main function was the preservation and the saturation of relics of saints who played an important role in the political and cultural life of the day. Even in Asia, such early social Institutions did exist to keep the collective memory of people alive. In India, the stupa, containing the bodily relics of the Buddha was an embodiment of sacredness and spiritual valve, which gave a social status and sanctity.
The era of Renaissance from 14th to 16th century A.D. marked qualitatively a new change in the history of museum movement. The growing demand of the curios and rarities gave rise to big collection of authentic objects. The love of universal collections of art objects and the natural curiosities necessitated a new organization. The term “museum” for a collection was first introduced in the late 15th century. The situation changed in the late 18th century as the classical age crumbled under the pressure of an emerging industrial world which considered a classical antique to be an object as the material source and produce of knowledge. The interpretation of classical antique objects has provided fresh values to objects of fine arts i.e. architecture, paintings and sculpture which entered the portals of museums in order to testify not only its historicity and materiality but also the spiritual meaning hidden within itself.
Thus, the museum as an institution has covered a long journey right from 3rd century B.C. has undergone many changes. The changes in the
1 Anupama Bhatnagar,”Museums, Museology and New Museology”, New Delhi, 2000, p. 3 2 op.cit
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political events of American Declaration of Independence in 1776 and French Revolution’s Declaration of Human and Civil Rights of 1789
zreform a tremendous advancement in the field of science and culture. In 1753, the first National Museum in the world “British Museum” was created. The first public museum of America was founded in Charleston, South Carolina in 1773 A.D. It was in 1793 A.D., France announced the opening of the palace of “Louvre” as the museum of the republic. Starting from France, a new trend began to spread through European continent that made the museum a new public Institute in the late 18th and early 19th centuries A.D. Hereafter, a large number of private and royal, aristocratic, scholarly and society owned collections were gradually being turned into public museums. The “Atlas Museum” in Berlin was founded in 1830 A.D.
The development of Museum in North America took a slight different turn. Museum activity was marked by private initiative and committee work. The world famous Smithsonian institute at Washington was created in 1846 A.D. the world famous Victoria and Albert Museum, London (South Kensington) was established in 1851 A.D. The Metropolitan Museum of Art, New York, was founded in 1872 A.D. The National Museum of Japan, Tokyo was founded in 1872A.D. there was a tremendous activity in the domain of museum movement throughout the world with regard to the development of museum movement in India, the Indian museum Calcutta, the first public museum on Indian soil founded in 1814. In 1814, the Asiatic Society of Bengal accepted the offer, of a Danish Botanist, Dr. Nathaniel Wallich, to act as an honorary Curator of the Indian Museum. In the last fifty years there has been a significant growth of museums and the museums profession in India.
The museum like all other social institution has changed through times. They have changed in form, in function and in basic concept. With the establishment of ICOM (International Council of Museums) in 1946, the museum movement has witnessed unparallel growth. The growing appreciation for culture, cultural tourism, international exhibitions and huge promotional campaigns have provided extraordinary impetus to museum movement and to world-wide popularity of museum as places for leisure and education.
In article 3 of the status of the International Council of Museums, 1974, it says, “is a non-profit making permanent institution in the service of society and of its development, and open to the public which acquires, conserves, researches, communicates and exhibits for purposes of study, education and enjoyment, material evidence of man and his environment”.
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Various Manuscripts Writing Materials
1. Birch –bark – is one of the main materials used in India for writing before the introduction of paper. The material is composed of several layers, each of which is very thin, almost like a tissue paper. It is normally of a very light teak-brown colour on one side and brownish white on the other. The layers are joined together by a natural bum and by knots and streaks which are composed parts of the bark.
2. Palm-leaf – before the introduction of paper, palm-leaf was one of the main supports used for writing and painting particularly in South and South East Asian countries including Nepal, Sri Lanka, Burma, Thailand, Indonesia. There are large collections of palm-leaf manuscripts in several museums and libraries in South and South East Asian countries.
Types of Palm-leaf:
• Corypha umbraculifera: It is known as ‘sritala’ which grows in the coastal areas of South India, Srilanka, Thailand etc. Its leaves are broad and long with smooth surface. The main use of the leaves is in making fans, mats, umbrellas, baskets, thatching, roofing and so on. The earliest manuscripts are on this type of leaves and they remain flexible for a long period.
• Blassus flabellifer: It is known as Palmyra and it grows in a climate that is completely dry. It mainly grows in South India, and a native of tropical South Africa, as it needs dry climate. The tree attains a height of 15-20m and a trunk of 1-2m in diameter. The leaf stalks grow up to a length of 1m. They are fibrous, and initially strong and flexible. The leaves of Palmyra palm are rather thick and more prone to insect attack.
• Corypha utan: It is known as “loutar” and thrives in Burma and Thailand.
3. Cloth Painting – it is difficult to say when exactly cloth frist began to be used for painting because it is a perishable material and is easily damaged in a humid climate like that of this region. Cloth paintings are found are in different forms belongings to
different regions for different purposes. Painted pichhavai, Jain patas, Rajasthani phadas, kalamkari paintings and Orissa pata paintings are some of the important paintings. Each had a distinct style and technique of painting. 4. Paper – after its introduction in India and other neighboring countries, paper became the most popular carrier for writing materials as well as for paintings. The cause of paper which could be prepared and was available in larger size than palm-leaves brought a great revolution in the art of writing and painting not only in their format and size but also in
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their style. The restriction imposed by the size of the palm-leaf on the format of manuscripts was not applicable to paper manuscripts.
Factors Affecting the Deterioration:
Factors of deterioration can be natural and man-made. These can further be described in to two major categories.
In an open environment, direct sunlight and consequent high heat, dust and other conditions of unprotected exposure have to be taken into account. But it does not mean that the manuscripts are safe and protected inside a building. There are agents which act upon the material continuously, and cause in to deteriorate slowly but steadily even indoors. The major natural causes are light, micro-organism like fungi, insects and pollutants in the atmosphere.
CAUSES OF DETERIORATION
Objects of cultural, historical interest are exposed to various kinds of dangers from the very moment of their manufacture no matter whether they are still fulfilling their original function outdoor or are within the protective walls of museums.3
As we discussed earlier in table 1, factors of deterioration can be of natural and man-made. These can be further described as
a) Climatic conditions,
b) Pollutants,
c) Biological growth,
d) Physical factors,
e) Nature of the composition of an object.
3 H.J. Plenderlith, “The Conservation of Antiquities and Works of Art”, Oxford University press, London, 1971, p. 45
Factors causing deterioration
External
Internal
- Climatic condition - Atmospheric pollutant - Biological growth - Physical factors
- Nature of the composition of an object
Table 1
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[A] CLIMATIC CONDITIONS:-
Climate is the consequence of many elements and factors of varying nature. The main elements to be considered are temperature, moisture and light, influenced by factors such as latitude, altitude, land and water, mountains, prevailing winds and local topography.
Deterioration needs energy and the ultimate nature of energy is not understood. But what science can do is to define and quantify physical system and the energy changes that they undergo. Heat, Light and Motion are form of energy. Energy is so defined that is conserved, which means that the total amount is always remains unchanged.4
A chemical reaction, which for us means Deterioration, may absorb energy or may actually release some amount of the potential energy held in the molecules of the object. But in either case a certain defined quantity of energy must be supplied in order to start the reaction. This is known as activation energy.
In the museum the activation energy may be brought to an object by heating it or illuminating it by exposure of light.
LIGHT:-
Deterioration needs energy either light or heat. Light is much more potent than heat in museum. Light is a part of electro-magnetic spectrum, which is also includes X-rays, Ultraviolet rays, Visible rays, Infrared rays and Radio waves, as such it is a form of energy.
These very different types of waves are distinguished from one to another by wavelength or frequency. Only those wavelengths in the range of 400-760 nanometer [1 nm (nanometer) = 1 millionth of a millimeter] are visible to the human eye.
The radiation of wavelength below 400 nm is Ultraviolet rays, followed by X-rays. And those of wavelengths more than 760 nm are known as Infrared rays.
The light we perceive as white light is in fact a mixture of all violet and blue light have the shortest waves (400-500 nm), next is green (500-560 nm), then yellow (560-600 nm) and finally orange and red (600-760 nm).5
4 H.J. Plenderlith, “ The Conservation and Antiquities and Works of Art”, Oxford University press, London, 1971,p. 95-96 5 ibid if Plenderlith,p. 97
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(fig: 2 Spectrum of light)
Cosmic Rays
Gama Rays
X-rays U.V. Rays
Heat (I.R. Rays)
Radio Waves
10-4 10-2 100 102 104 108 1010
VISIBLE PART OF THE SPECTRUM
U.V. Rays
Violet / blue Green Yellow Orange / Red I.R. Rays
400 450 500 550 600 650 700 750 nm
INCREASE IN DESTRUCTIVE POEWR
1 nm = 1 millionth of a millimeter
(FIGURE 1 - Electromagnetic spectrum)
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THE DESTRUCTIVE EFFECT OF LIGHT :-
THREAT SPECIFIC DAMAGE FREQUENT CAUSE
Light
Exposure to excessive light especially
- high intensity light (IR rays)
- short wavelength light (ultraviolet rays)
- Fading
- Discolouration
- Embrittlement
- Destruction
- Natural & artificial light
- Too many windows
- Objects wrongly positioned
- Inappropriate artificial light sources
- Lack of filters or blinds
(Table 2 - Effect of Light on Museum Objects.)6
The harmful effects of the long – wavelength red part of the visible spectrum and of infrared radiation (radiation heat) are almost exclusively confined to those caused by their heat.
The relatively short wavelengths of green and blue light as well as ultraviolet radiation cause photochemical damage (damage due to chemical change by radiation) in some material and it is that reaction that are known as light damage.
The shorter wavelength of the radiation, the more damaging is its effect as the energy of a radiation increases in inverse proportion to its wavelength. That is why ultraviolet rays are relatively more destructive then the blue part of visible spectrum, which in turn is more destructive then the green, the yellow etc.
Light produces damage in proportion to its intensity and the exposure time of the object. A light of 500 lux will theoretically cause the same amount of damage in one year as a light one-tenth the strength (50 lux) will produce over ten years; or, if two 100 watt lamps are put in 6 ibid of Plenderlith, p. 99
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place of one, then the same amount of damage will occur in half the time.7 (In Europe, the usual unit of measurement is the lux. In English-speaking countries the Lumen per square foot measurement is still sometime used – 1 lumen per square foot = 10.76 lux.)
In term of Physics,
E(lux) = luminous intensity (candela [cd])
Square of distance from light source (in meters)
We can say that all ‘organic material’ includes all thing originated in animals and plants for example paper, cotton, linen, wood, parchment, leather, silk, wool, feathers, hair, dyes, oils glues, gums, resins and in addition because of the similarities in chemical structure, almost all synthetic dyes and plastic. It may be remembered that light can cause not only colour change but strength change, as in the weakening of support material of manuscripts and the destruction of paint medium of the paintings.
RELETIVE HUMIDITY (RH) :-
Our bodies are composed of water to the extent of 65-70% of our weight. Since plants and animals contain a great deal of water it is not surprising the products made from them also retain some amount of moisture. If the moisture is taken away from materials like wood, ivory or bone they will contract and very likely split and warp. Other materials like paper, parchment, leather and natural fiber containing textile will become less flexible and so that their fibers become easier to break.
RH can be defined as the percentage of water vapour contained in a given volume of air relative to the maximum amount of air can hold at a given pressure and temperature.
Where, a = is the amount of water vapours actually present in a given quantity of air.
b = is the amount of water vapours required to saturate the air at the sane temperature.8
Relative humidity can vary between 0 and 100%. The air is considered to be dry when the relative humidity is below 35%. It is considered moderately humid between 35 and 65% and 65%, and is considered to be humid at over 65% relative humidity. 7 ibid of Plenderlith, p.102 8 ibid of Plenderlith, p. 103
RH = a/b x 100 %
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DETERIORATION DUE TO RELATIVE HUMIDITY PROBLEMS :-
There are three different modes of deterioration that are influenced by RH.
1. change in size and shape,
2. chemical reaction,
3. biodterioration.
The following table - 3 will give the brief idea to understand the different kind of deterioration occurs by the RH in various museum materials.
MATERIAL INDICATOR POSSIBLE CAUSE
Metals
(storage material)
Fresh corrosion products
Tarnish on polished surface
RH too high (polished metals, e.g. brasses & bronzes, do not tarnish at 15%RH or less)
Glass (unstable)
Storage material
`Weeping' - wet surface
`Crizzling' - fine cracks
Glass becoming opaque
RH incorrect or fluctuating too much
Wood,
Textiles,
Bone, Ivory
Leather, Paper
Mould & Fungus RH too high
- do - Cracks, warping, flaking
RH fluctuating too much
- do -
Embrittlement
Shrinkage
Drying out & breakdown of
RH too low
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adhesives
Plastic
(Storage material)
Warping RH incorrect or fluctuating too much
- do - Electrostatic/excess dust
RH too low
(Table 3 - Museum Materials and Deterioration by RH)
1. CHANGE IN SIZE AND SHAPE :-
All moisture absorbent materials, such as wood, ivory, bone, parchment, leather, textiles, basketry and matting, and adhesives, swell when the RH rises and shrink when it falls, causing warping, dislocation between parts, splitting, breaking of fibers, etc, especially at low RH.
a) Repeated cycle of RH changes can cause the paint film to lose
adhesion and form cracks.
b) On a wooden surface or panel painting repeated change can cause cleavage.
(FIGURE 3 Effect of RH changes)
2. CHEMICAL REACTION :-
The quite different classes of chemical reaction are favoured by high humidity. (a) the corrosion of metals, and (b) the fading of dyes and
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the weakening of paper and textiles. (c) weeping of glass and other materials.
2(a). The corrosion of metals:-
If the RH is high, then the humid condition will allow to accelerate the chemical reaction on metal surfaces. It will allow formation of corrosion on the surface of iron, copper and its alloy, pewter etc. The tarnishing of silver is accelerated by high RH. Gold of course is an unaffected. These things one should remember while using metal material as storage material and ink where metal has been used as ingredient, examples are iron-gall ink (black) and Verdigris ink (Blue-green).
2(b). The fading of dyes:-
Majority of cottons, linens, wools and silks fade more rapidly at high RH than low. The textile affected by light too, and all natural textiles (moisture containing) weaken more quickly by light at lower RH.
2(c). Weeping glass and other material:-
It may be surprising to know that some glass objects in museum are sensitive to moisture, since glass vessels have always been used for water. However, in certain glass compositions sodium and potassium ions retain slight solubility. These can form sodium and potassium hydroxides, by reacting with moisture, which can quickly convert to carbonates by the carbon dioxide in the air. These sodium and potassium carbonates can attract moisture droplets may form on the glass. During the process of this leaching tiny cracks are first formed, but in later stages the glass may become opaque, greyish or milky and tiny scales may flack off. These actions are to be remember where glass is to be use as storage material.
3. BIODETERIORATION:-
Biological activities as a rule increases in high RH. Most insect pests grow at the higher humidity. Mould can grow at higher humidity eg. 75% and more. Microorganism (bacteria) requires even more. We will discuss this topic more in detail later on.
TEMPERATURE
Temperature plays secondary role with respect to RH effect. The given table-4 will be helpful in understanding the different type of damages done by temperature on museum objects.
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THREAT SPECIFIC DAMAGE FREQUENT CAUSE
Temperature
- Incorrect temperature (high or low)
- Rapid fluctuation in temperature
Heat causes
- increase in degradation
- embrittlement
Fluctuation causes - splitting
- cockling
- warping
- Weather changes
- Poor building insulation
- Poor regulation of heating
- Radiant heat from display lighting
(Table 4: Effect of Temperature on Museum Objects.)9
There are some straightforward results of a rise in temperature.
1. The rates of physical process such as movement of water and air through solids will increase. Typically the same rise in temperature of 5oc would speed up these processes by about one and a third time. Age embrittlement is related to these progresses.
2. Biological activities will increase in warm weather.
3. The raise in temperature can increase the rate of chemical reactions. For example if we raise temperature (at constant RH) of cellulose 5 oc eg . from 15 to 20 oc or from 20 to 25 oc then the deteriorating rate will increase in the dark by about two and half times in each case. (chemical deterioration process which do not need light increase.)
4. (INDIRECT EFFECT) Unless the RH is kept independently constant, a rise in temperature cause drying, which results in embrittlement, for example of wood, paper, animal glue and leather etc.
9 Nathan Stolow, “Conservations and Exhibitions”, Butteworths Publication, Londoan, 1987, p. 35
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[B] AIR POLLUTION:-
Air pollution seriously damages the environment. Pollutants for example dust and gaseous pollutant can accelerate the deterioration of buildings and monuments. Museums are not airtight, so these pollutants can enter the museum and pose a threat to museum objects. The following table 5 will be helpful in understanding briefly the frequent causes of deterioration done by the pollutants.
Gases and particles are the two components of air pollution. Particles from burning fuels, acidic from adsorbed sulphuric acid, and contain trace metals, such as iron, which start degradation. Dust is abrasive, unsightly, and may absorb acidic fumes or moisture from the air. Absorbed water damages glass and metals. Abrasive particles act as little saw teeth, cutting organic material when it expands and contracts from humidity fluctuations or scratching finely polished surfaces. Which is one of the most dangerous situation for safe storage of manuscripts.10
There are two main types of gaseous urban air pollutants : acidic and oxidant. Acidic pollution consists mainly of sulphur dioxide and sulphuric acid, while damaging oxidant pollutants consists mainly of ozone and nitrogen dioxide. These two types have different causes and effects, but both can be present together in polluted air.11
Acid corrodes metals and destroys organic material. Sulphur dioxide, a common pollutant gas, is formed from burning fossil fuels. It turns into sulphuric acid in the presence of water and can rapidly disintegrate carbonate materials such as chalk, limestone, marble, and alkaline sandstone. It also embrittles and yellows plant fibers such as paper, cotton, linen, rayon, and wood; causes "red rot" in leather; attacks paints and pigments; breaks down synthetic materials such as nylon and rubber; and corrodes metal.
Oxidizers, primarily ozone and nitrogen dioxide, are produced when oxygen breaks down. Ultraviolet rays in the upper atmosphere, sunlight on car exhaust fumes (photochemical smog), or certain lamps and electrical equipment such as electrostatic precipitators and photocopy machines (neither should be located near collection storage), create ozone or nitrogen dioxide. Oxidizers react with all organic materials causing structural breakdown. They attack dyes, pigments, inks, cotton, basketry, paper and polyesters. Nitrogen dioxide also forms nitric acid in the presence of high relative humidity, resulting in damage that is similar to that caused by sulphuric acid.12
10 ibid of Nathan Stolow, p. 37 11 op.cit 12 op.cit
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THREAT SPECIFIC DAMAGE FREQUENT CAUSE
Pollutants
Wind-borne gas & particle pollutants, especially
- oxidant & sulphiding gases
- dirt & dust
Degradation of materials
- Close proximity to road
- Lack of air-filtration
- Poor door/window fitting
- Poor housekeeping
- Poor control of building/decorating works
- Inappropriate cleaning methods & agents
(Table 5: Pollutants and museum objects)13
[C] BIOLOGICAL GROWTH:-
Biodeterioration can be defined as any undesirable change in the properties of materials caused by the vital activities of living organisms. Biodeterioration leads to certain observable symptoms on materials. (a) stains and discolouration, (b) erosion, (c) disfigurement, (d) pitting, (e) tunneling, (f) changes in mechanical properties, (g) changes in chemical properties, (h) powder formation, (i) development of colour (mildewing on paper.)
Most of the organic materials and certain categories of inorganic materials are liable to destruction caused by insects, fungi, bacteria etc.
Of the hundreds of thousands of insect species, only a small percentage attack museum objects. The following (table 6) shows the name of most frequent insects which attacks various types of manuscripts and its storage materials specially in India.14
13 O.P. Agrawal, “Preservation of Art objects”, Lucknow, 1992, p. 67 14 ibid of Agrawal, p. 68
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Sr. no.
Name of Insect Material Attacked
1. Silver fish Paper, books, photographs etc.
2. Cockroaches Wool, leather, paper, books, herbaria etc.
3. Termites Wood, books, paper, textiles etc.
4. Book-lies Paper, photographs, paintings etc.
5. Clothes moth Woolen fabrics and paper material.
6. Wood boring
beetles
Wooden cover of manuscripts.
7. Book worm beetles Books, book-bindings, palm leaf.
(Table 6: Some of the most common insects in India)15
Next to insects, fungi constitute the major agent of Biodeterioration of museum objects. Moderate temperature and a RH above 70% is ideal for fungus growth on organic substances. The worst suffers of this problem are paper materials, wooden objects and cotton textiles. The common fungi in India causing damage to museum objects are the various species of Aspergillus, Penicillium, Curvilaria, Trichoderma, Fusarium, Mucar, Polyporous, Sordaria etc.16
Apart from fungi there are other cryptogenic plants like lichen, moss, liver worts etc. which generally cause deterioration to museum building, wall paintings etc. where conditions are favourable for their growth. There are also certain variety of bacteria that would attack organic materials under extremely humid conditions. Some bacteria are adapted to corrode iron objects, while others can deterirate even stone objects. The above mentioned (table 7) shows some common bacteria and the materials which they affect.
15 ibid of Agrawal, p. 69 16 op.cit
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Sr. No.
Bacteria Material affected
1. Cytophaga Cellvibrio
Paper, wood, textile, bone, ivory, paintings, etc.
2. Cellfascicula Paper, wood, textile, bone, ivory, paintings, etc.
3. Myxobacteria Paper, wood, textile, bone, ivory, paintings, etc.
4. Sulphate-reducing bacteria
Iron objects, Minerals of Sulphur. Where these materials are used as storage material.
5. Thiobacteria Museum or repository buildings.
6. Silico-bacteria Museum or repository buildings.
7. Nitrifying bacteria Museum or repository buildings.
(Table 7: Some of the Most Common Museum Bacteria)17
[D] PHYSICAL FECTORS:-
In this category I will speak about those factors which are responsible for the sudden change in the physical property of the museum objects, which can be man made or natural calamity. Like damage by neglect or as a result of inexperience, deliberate damage as in vandalism or damage because of natural calamities such as fire, flood, earthquake etc.
NEGLECT:
There are no doubt that a natural causes like climate, light, insect and fungi damages to manuscripts, but equally improper handling of objects while storing, displaying or transporting them from one place to another are also damaging manuscripts. There are many examples to illustrate improper practices leading to damage. The list below summarizes representative situation.
17 O.P. Agrawal, “Conservation of Books, Manuscripts and Paper Documents”, INTACH, Lucknow, 1997, p. 56
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1. IN SHIPPING, WORKSHOP AND STORAGE AREAS:
- Careless handling of manuscripts resulting in soiling, scrapes, abrasions;
- Improper stacking resulting in damage to manuscripts on retrieval from storage shelves, racks etc;
- Dropping of manuscripts, causing tears or heavy damage.
- Storage of manuscripts near windows, or directly in the path of air ducts.
- Placement of manuscripts near against cold, damp exterior walls, or on damp floors.
- Dusting or cleaning of surfaces manuscripts with coarse (soiled) cloths, brushes with hard bristles or vacuum cleaner.
- Exposing manuscripts to shocks and extensive vibrations, as in hammering of cases.
- Storage of manuscripts in damp, dry hot or cold locations for lengthy periods.
- Stapling or nailing labels on the outside of packed cases with risk of transmitting shock or puncturing of manuscripts
2. IN PERMANENT AND TEMPORARY EXHIBITION GALLERIES:
- Hanging or placing manuscripts without safety while exhibition preparations, carpentry, electrical work and painting operation are going on.
- Hanging of humidity sensitive manuscripts against cold (or hot) exterior walls, or over air conditioning grilles, radiators etc.
- Lighting units too close to manuscripts.
- Hazards from hot lamps, cables and television or cine equipments.
- Dangerous cleaning and dusting procedures in and around manuscripts either on pedestals or in cases.
VANDALISM:
Vandalism is a very difficult matter to deal with. There have been a number of ways in which the cases of vandalism are recorded like to touch the not permitted manuscripts, to write or draw something on it, splitting, slashing of paintings, throwing of acid, hammer attack etc.
DAMAGE DUE TO NATURAL DISASTER:
Three main disasters are Fire, Flood and Earthquake.
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1. FIRE:
It is one of the most disastrous cause of mass destruction of all kind of materials whether they are inorganic in nature or organic. manuscripts and library materials especially being organic in nature can turn into ash in no time. Fire could be local or could spread eventually over a large area, but in case if fire broke out due to short circuit or inflammable materials, then it can spread very quickly.
For further information refer (table 8)
2. FLOOD:
Flood is also very disastrous cause of mass destruction on manuscripts. Flood can damage museum or repository and its object due to following causes.
- Museum or repository is very near to river banks or flood prone areas.
- Museum or repository is located in low lying area where accumulation of rain water is too much.
- Museum or repository is near to sea where in case of s cyclones, tidal waves rise or tsunami waves.
- Poor drainage system or leakage seeping inside the Museum or repository building.
- Over head water storage tanks with improper placement and improper pipelines.
Further information related to fire and flood is mentioned below in table 8
3. EARTHQUAKE:
The whole of India is divided in five seismic zones ranging from very high risk zone to no risk zone. A large majority of our Museum or repository in Gujarat are prone to seismic risk of varied intensity on Richter scale. The recent example of mass destruction due to the earthquake is Bhuj museum building and artifacts on the first floor gallery damaged on 26th January, 2001.
Earthquake often lead to secondary disasters, such as flood and fire, which can destroy artifacts. Broken dams and water pipes release unwanted water and overturned fixtures can lead to fire.
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DISASTER DAMAGE FREQUENT CAUSE
Flood
Fire
Flood
- staining
- ink & dye run
- mould growth
- warping
- swelling
- disintegra- tion
Fire
- incineration - scorching - chemical deposit
Flood
- burst pipe
- leaking roof
- fire-fighting water
Fire
- electrical fault
- arson
- accident
- lightning
(Table 8: Damage due to flood and fire)
DIFFERENT METHODS OF PREVENTIVE CONSERVATION
Preventive conservation which includes preservation and conservation both in a sum total of all actions which are taken to prevent decay and all acts that would enhance the life of these cultural relics. That’s why we can say that Preventive Conservation attempts towards ‘better future of past.’
Today, therefore, it is the age of Management and Preventive Conservation of cultural property needs this, to take advantages of the advance Science and Technology in recent times. It is true that even with the technology available today we cannot stop the decay process totally but its pace can surely be retarded.
To prevent the deterioration, control of environmental factors such as temperature, relative humidity, light/illumination and pollution control has to be ensured besides preservation in display or storage angles or safety of art works can be planned during their transportation from one place to another to avoid future damages.
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[A] CLIMATE CONTROL:
As mentioned, climate has a lasting and continues damaging effect on cultural property and, therefore, we have to device ways and means to retard, the rate of deterioration by proper climate management technology. Extreme, or rapidly fluctuating, relative humidity poses a major threat, especially to organic materials. Their hygroscopic nature (they can rapidly absorb and release water) means that they quickly expand and contract, generating stresses which cause damage such as cracking. The goal for most types of museum collection is avoiding rapid RH change (no greater than +/- 3% in one hour, +/- 5% in 24 hours) while staying within the range of 45-65% RH. 18
AIR-CONDITIONING
Climate can be controlled through air-conditioning. Whatever be the type of air-conditioning, an important consideration is that it must function continuously. Often air-conditioning is allowed to function only during office hours and is switched off when the museum is closed. Nothing is more dangerous than this because it introduces artificial fluctuation between the day and the night conditions.
MICROCLIMATE
It is excellent for climate control, but it is very expensive if it is not possible to air-conditioning the whole building, the probability of controlling the environment in selected areas should be examined. Often it is possible control a limited numbers of rooms. Local control can be done for an individual show-cases or cupboards to produce favourable microclimate. (The term microclimate is used for climatic conditions of limited areas like a city, a building, a showcase or a cupboard.)
Humidity buffering materials such as paper, cardboard, cotton, khus-khus curtain, wood, textile etc., can be placed inside as an enclosures to absorb excess humidity when the RH increases and to release when RH drops. For example, 1 Kg of wood per cubic meter of showcase (with as large a surface area as possible and with that surface not sealed or coated with size, paint, varnish or lacquer) or 0.5 Kg of cotton wool per cubic meter of showcase will level-of fluctuation in RH to a greater extant. Commercial products are capable of reducing hygrometric variation also exist. The best known product is silica gel.
SILICA GEL
Silica gel has hygroscopic properties similar to those of wood, textile, paper, etc., but it has the advantage of reacting faster. This is mainly because, being very porous, it has a large surface are up to 500 m2
18 ibid of O.P. Agrawal, p. 67
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/g. To be effective, a sufficient quantity of the product must be placed in a sealed enclosure. For example, to buffer a sealed display case that measures one cubic meter, approximately 500 gms of silica gel must be used.
When silica gel serves as a desiccant – for example, to slow the corrosion of metals – it should be used in its dehydrated state. Place the dehydrated silica gel directly into the base of the display case. Silica gel tends to re-hydrate with time, but it can be returned to its initial state by heating it in an oven at 120 oC for three hours.
SALT SOLUTIONS
Salt solution can also be used to maintain certain specific levels of relative humidity in showcases. A saturated solution of sodium bromide (NaBr) or magnesium nitrate (Mg(NO3)2.6H2O), for example, will
maintain a RH about 55% at 20 oC. A solution may be seen to be if some crystals of the salt are visible at the bottom of the container. The relative humidity established in a showcase with these solution does not fluctuate very much with vary much with variation in temperature, as the following (table 9) illustrates.19
Temperature in the showcase (oC) Relative humidity in the showcase (%)
10 oC 58 %
15 oC 56 %
20 oC 55 %
25 oC 53 %
30 oC 52 %
(Table 9)20
A disadvantage of using salt solution to control RH is that the salt crystallize out on the wall of their container and eventually creep out over the edge and out. The container – shallow bowls are the most effective – should therefore be covered with a membrane that is permeable to water vapour but not salts.
19 ibid of O.P. Agrawal, p. 78 20 op.cit
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Fortunately, some simple, less costly and effective measures can be taken to limit the effects of these RH variations.
SIMPLE AND EFFECTIVE STEPS
a. A good knowledge of museum building will always helps to establish priority for improving conditions. For example, the areas close to windows or closer to exterior walls are more likely to experience frequent RH fluctuation. Basements are generally too humid and galleries on the top floors of the building are often too dry. According to the building design and by having knowledge of Manuscripts one can display and store Manuscripts in a systematic manner.
b. Museum or repository showcases and cabinets should be air tight (tightly sealed) for exhibition or storing purpose of the most RH sensitive material.
c. When Manuscripts are moved into or out of a museum or repository building, it is advisable to wait at least 24 hours before opening the packing box because objects seek to reach equilibrium with their environment before trying to maintain an ideal RH.
d. When a manuscript’s environment is changed, the manuscripts must be allowed to acclimatize slowly to avoid flaking, cracking and breaking. Large sudden variations cause the greatest damage, including lifting of paint layers, warping of paper and wood, and dislocation of joints.
e. If relative humidity is controlled, temperature control is generally less crucial. Ironically, however, since the human body is far more sensitive to heat and cold than to humidity, it is temperature control that is more often seen as the priority in public buildings. Public areas are usually kept between 19-22oC. For collections care, a range of 17-20oC is acceptable for manuscripts, while stores can be kept at lower temperatures (there is no lower limit, provided humidity is still controlled) to both save energy and reduce decay rates.
The recommendable RH level for manuscripts and its storage materials are described below in table 10.
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MATERIAL
OPTIMUM RH
(50% unless stated)
ACCEPTABLE RH BAND
(40%-65% unless stated)
NOTES
Paper 45% 40-55% Some authorities recommend less
Photographs
- B & W prints
- B & W negatives
- glass negatives
- colour prints
- colour slides / colour negatives
40%
35%
30%
40%
25%
30-50%
30-40%
20-50%
30-50%
25-30%
Textiles 30-50%
Silk & wool are more sensitive to moisture damage than cotton or linen.
Paper (stretched)
45-55%
Paper screens, drawings on stretched frames etc. need narrow band
Ivory, bone (carved)
50-60%
Carved items require more control than anatomical collections (although less than sub-fossil material).
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Dimensional responses very slow, except when in thin sheets egg miniatures on ivory
Leather, skins, binding
45-60% Variable according to the tanning process used
Paintings 40-55%
Unlined paintings, or paintings lined with hygroscopic adhesives, are more reactive than those lined with wax or synthetic materials. NB Some sources suggest that temperature variations (even short-term and slight) pose a greater risk than RH fluctuations, due to varied thermal expansion of the paint layers
Paintings
(on wood) 45-60%
Depends on type, grain & thickness of wood, the ground and the method of jointing sections. Some need narrow RH levels to minimise warping
Wood (painted & varnished)
45-60% Includes musical instruments, models
Plastic 40% 30-50% In general, plastic materials have slight humidity responses,
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but do warp when in thin sheets & exposed to varying conditions. Low RH causes electrostatic properties, encouraging dust accumulation
Parchment, Vellum
50-60% Narrow control required because of great hygroscopicity
Metalwork
(historic) 35% 15-55%
Depends on condition of metal, and oxide formation. Other components (egg wooden handles) may restrict ability to go lower than 50% RH
(Table 10: Types of Museum Object requiring exceptional RH conditions)21
[B] LIGHT CONTROL
There are different types of problems related to lighting: light levels, the presence of ultraviolet rays (UV Rays) and the release of heat. The light level represents the amount of light that reaches an object. Its unit measure in Lux and it is measured with a luxmeter.
The second consideration related to light is the presence of UV Rays. Sunlight, fluorescent lighting and most halogen lights emit UV Rays. These rays are high in energy and damages the objects as mentioned earlier.
The third consideration related to lighting is heat. Incandescent lamps and sunlight can produce too much of heat and this heat can dried out manuscripts and accelerates their aging.
Hence control of light in stores or in exhibition halls must take these three things in mind.
21 C.P.Uniyal,”Light in Museums”, Journal of National Museums, New Delhi, 1982, p. 68
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1. Minimize the intensity of light falling upon the manuscripts;
2. Expose manuscripts to the light for a minimum period of time; and
3. Eliminate the photo-chemically active radiations from the light.
In order to minimize the destructive effects of light, it is advisable to expose highly susceptible materials to exhibit on rotational bases rather than the permanent. After a brief showing, they may be returned to storage or else curtain can be used on showcases displaying such objects, to be opened only when a visitor wants to see them. Switches, can be introduced which can be operated by the visitors and it will turn off automatically after a brief period of time. For manuscripts, it may be useful to establish annual lux-hours exposure limits. Lux-hours are a measure of exposure (illuminance x time). 22
Calculating current exposure in annual lux-hours
Lux of display light source(s) = 50 lux
Number of hours on display in a year = 2,304 (8 hour day x 6 day week x 48 week year)
Annual lux hours exposure = 1,15,200 lux hours per year
This example assumes that no light falls on the object when its 8 hour display day is over (probably only accurate when the lux of the light source is constant, and a strict regime of covering a display case out of hours is followed; in reality:
if any natural light is involved, its illuminance will vary with the time of day, weather and season;
the precise illuminance of many artificial light sources declines over time, as the filament ages (and dust settles!);
most museum exhibits are illuminated well before (and often after) public admission times, as lights are turned on, blinds raised and curtains drawn back, to facilitate gallery cleaning, out-of-hours events etc.
There is no published source for these recommendations; they are calculated assuming an exposure to the recommended maximum lux for 8 hours a day, six days a week, 48 weeks a year; in many situations museums will be doing well if they restrict exposure to not more than double these amounts.
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(213)
The recommended light exposure for the different kind of museum materials are mentioned bellow in (table 3.3).
MATERIAL RECOMMENDED MAXIMUM VISIBLE LIGHT LEVEL (lux)
RECOMMENDED MAXIMUM ANNUAL LUX HOURS EXPOSURE (illuminance x time)A
Costume, textiles Watercolours, prints, drawings Paper items (including wallpapers, manuscripts) Photographic prints (colour) Transparencies
50 lux 96,000
Furniture (inlaid or with grain/surface feature) Plastic (especially Bakelite, Ebonite & polythene)
100 - 200 lux 192,000 - 384,000
Paintings (oil & tempera) Undyed leather, wood, horn, bone, ivory Lacquer ware Furniture Photographic Prints (black & white)
200 lux 384,000
A There is no published source for these recommendations; they are calculated assuming an exposure to the recommended maximum lux for 8 hours a day, six days a week, 48 weeks a year; in many situations museums will be doing well if they restrict exposure to no more than double these amounts.
(Table 11: Recommended light exposures for museum collections on display)23
23 C.P. Uniyal,”Light in Myseums, its interaction with materials and preventive measures”, Journal of Indian Museums, New Delhi, 1982, p.77
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Light for Photography
Excessive light, often used for photography of manuscripts, can be dangerous and should never be allowed. The Lighting Group of the ICOM Committee for Conservation has enunciated the following rules for the use of electronic flash.
1. no more than two sources of flash can be used;
2. total energy from both sources should not exceed 1,400 joules (watts/seconds);
3. the two sources should be placed not closer than three meters from any point of the object being photographed or any neighbouring manuscripts;
4. the flash sources should be covered with a filter which absorbs all radiations of wavelengths shorter than 380 nm, i.e. which absorbs substantially all UV rays; and
5. there should be no more than one flash exposure per minute.
[C] CLEANING OF AIR
The only and very effective way to remove the gases from the atmosphere or the room where objects are kept is to pass the air through various filters and water spray. This is possible only if the building is air-conditioned.
ORDINARY DRY FILTER
This kind of filters can be made of various sorts of fibre or synthetic foam, which is capable of removing only the larger dust particles, but it is not as capable of removing of very fine particles and other atmospheric gaseous pollutants.
WATER SPRAYS
It is possible to wash a high proportion of both particulate and gaseous pollutants out of the air passing through a spray of water. As the spray is only effective when the water is continuously changed and, it should be connected directly to the mains and not recirculated. If we use a mildly alkaline solution (pH 8.6-9) instead of plain water, nearly all the sulphur dioxide could be removed with a spray. Water sprays also can be used as humidifier, and they are widely used for air-conditioning. (The water spray in the National Gallery in London removes between 95% and 97% of the sulphur dioxide present in the air outside.)
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ACTIVATED CARBON FILTER
Gaseous atmospheric pollutants may also be removed with activated carbon (carbon prepared so as to increase its capacity for adsorption) filter. However, in air-conditioning systems, a supply of large amount of air, gives satisfactory results only if the air is recirculated through the filters, or the filters are extremely thick. Activated carbon filters are effective in the ventilation opening of showcases, as the air is exchange between the room and the showcase is slow.
VISCOUS FILTERS
These kind of filters have a surface moistened with a viscous liquid such as oil, to which dust particles adhere as the air is passed over them. (it is inadvisable to use viscous filters in museums because minuscule oil droplets may be detached by the air current and redeposited, in time forming an oil film on the manuscripts.)
ELECTROSTATIC PRECIPITATORS
It is also known as electro-filters, which removes dust from the air by passing air current through an electrostatic field between metal plates charged to a high voltage. (this is very effective type of filter, but, should not used in museums, as it is producing ozone, which is harmful to manuscripts.)
The above methods of filtering the air is depends on the interest of museum administration and curatorial staff, only if they are thinking of installing an air-conditioning system.
In order to keep atmospheric pollution to a minimum in rooms, which are not air-conditioned, particularly in towns and industrial areas, tightly fitting should be installed, and these should be opened only occasionally for a short time only. If these precautions are taken then we can provide effective protection to the manuscripts from the atmospheric pollutants.24
[D] INTEGRATED PEST MANAGEMENT
India has a largest collection of manuscripts in different languages and scripts, written on the different types of writing materials. Most of the manuscript in India is written on Paper, Palm leaf, Birch bark, Parchment, Leather, and Textile etc. All of these writing materials are made of organic material, which is most susceptible to attack by the biological agencies, mostly by the insects.
24 Cnandian Conservation Insitiute, Video handbook, Canada, 1995, p.67
(216)
Although insects are a necessary part of our ecological system, insects and other pests can be destructive to our manuscript storehouses, Archives, Libraries, Galleries and Museum. If an infestation occurs, many objects in a collection could be chewed, torn or soiled, thus reducing their value and their potential for research and making them unsuitable for reading or display. Thus pest damage to collection is irreversible; it is therefore essential that it should be preserved by effective strategy and effective management planning like “Integrated Pest Management” (IPM).
Pests
Pests are biological agents which can damage the archival collection. Pests that regularly damage archival collection can be roughly grouped as;
i) General Pests; ii) Stored Product Pests;
iii) Moisture Pests; iv) Wood Pests;
v) Fabric Pests;
i) General Pests
Any house hold pest become pest in archival collection, viz. Cockroach, Cricket, Silverfish, which will eat protein and cellulose material, include paper, sizing material, binding media, adhesives used etc. as well as Ants, Mice, Rats, Birds and Bats can also damage the archival material.
ii) Stored Product Pests
Because of eatable items comes in surrounding of collection, some most common insects known as “Stored Product Pests” or “Pantry insects” attracted to archival storage i.e. Cigarette Beetle (Lasioderma Serricortne) and Drug Store Beetle (Siegobrium Paniceum)
iii) Moisture Pests
When the Relative Humidity (RH) increases to more than 65% many biological agencies like mold and fungus starts germinating. Many insects also starts their activity in high humidity situation, most common name is book lice (Psocids).
iv) Wood Pests
This pests generally attacks on the wooden material but indirectly they comes in contact with other archival collection and makes permanent and irreversible damage to the collection viz. Wood Boaring Beetles; Anobiid, Furniture and Deathwatch Beetles (Anobiides); True Powderpost Beetles (Lyctidae); False Powderpost Beetles (Bostrichidae); Termites (Isoptera) etc.
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v) Fabric Pests
This pests are protein eaters and damaged directly as well as indirectly to the archival collection, viz. Carpet Beetles (family Dermestidae) and Cloth Moths (family Tineidae).25
What is IPM
IPM is a decision making process that helps to determine ‘if’, ‘when’ and ‘where’ to need pest suppression. It helps to develop a strategy to keep pests from attacking collection. IPM uses a variety of techniques to prevent and solve the pest problems with using insecticides only as the last resort. Effective IPM policy has two main goals:
i) Protect the stores and its collection from pests.
ii) Reducing the amount of insecticidal chemical in collection.
Why should we use IPM
On the name of preventing archival collection from biological agents many organizations are using insecticides, sprays or fumigation chambers. But many of the users do not know that pesticides can be health hazards for staff. Exposure to pesticides and by using them incorrectly, it can cause acute symptoms such as nausea, vomiting, and breathing difficulty. Exposure can also cause chronic effects such as seizures, skin and eye irritation, and memory defects. Many pesticides are carcinogens or suspected carcinogens. So for staff’s, researchers’, scholars’ safety IPM helps them to prevent collection without using health hazardous chemicals.
Damage by Insecticidal Chemicals
Pesticides can cause the following damage:
o metal corrosion. o deterioration of proteins, such as leather, binding media. o deterioration of paper o color change in dyes and pigments o staining from surface and vapor contact
Component of an IPM Programme
Each of this component is ongoing and the whole process is cyclic in nature. An effective IPM programme involves six stages, most importantly;
I. Avoide attracting insects;
II. Prevent the entry of insects;
III. Detect the presence of insects and identify them; 25 ibid of CCI, Canada , p. 68
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IV. Contain the infestation;
V. Eliminate the insects;
VI. Documentation and evaluation.
I. Avoid attracting insects
In the tropical country like India, the success of the IPM depends largely on the maintenance of the building, rooms, displays and storage cabinets of archival collection.
Dust attracts insects and provides them with a habitat favourable to their development. Clean the archival repository regularly, if possible everyday, favorably with vacuum cleaners. Clean ‘hard-to-reach’ places regularly, viz. behind large piece of furniture, under it, under shelves, roofs, clean dust-bins every day.
In storage, objects should be protected from dust by means of boxes, dust covers. Eliminate bees’ nests, bird nests, derbies, dead trees, rubbish etc. from surroundings of the archival collection.
Food and other eatables should be prohibited to take in the storage or display area. It must be confine to designated areas like cafeteria or eating lounge, which should not be on the same floor of storage or display area as well as not sharing the same wall.
II. Prevent Entry of Insects
Keep in mind that pests like dark, warm, damp places. Pests tend to move along this surface. Critical areas where pests are likely to be found include:
• along the perimeter walls
• in corners
• near doors
• near windows and other light sources
• under furniture
• near water sources
• near drains
• near heat sources
• inside and outside exhibit and storage cabinets.
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III. Detect The Presence of Insects and Identify Them
Detecting insects is the key to preventive conservation. Early detection allows one to act rapidly, as soon as insects are found and before they can cause extensive.
Sticky tapes are a good means of detection. The more tapes are there, the faster the detection and the easier it will be to locate the infestation. Do inspection rounds every second weeks and check each trap. These few hours of work can save the hundreds of hours it will take to deal with an infestation.
IV. Contain Infestation
If infestation occurs, all the infested objects should be located and should be isolated from all rest of collection by placing them in sealed plastic bags, to avoid spreading of infection, by eggs or larvae.
Now next step should be of eliminating those insects, and to check the entry point of them to maintain cleanliness and weather proofing to prevent from next infestation.
V. Eliminate the Insects
Here the question will arise that which method should be use to eliminate insects. Till now in almost every organization repellents such as Napthalene balls, Paradichlorobenzene, Camphor. Pentachlorophenol, Sodium fluoride etc. are in use as the only option to eliminate insects. But in many experiments the effectiveness of above said did not find 100% effective. Also, many are suspected of being carcinogenic. But when there is no other option to choose, one has to go for it to prolong the life of the objects.
In many developed countries the following methods are in use to eliminate the insects without using harmful chemicals and giving very satisfactory results.
- Exposure to Low Temperature
Freezing at low temperature does not present health hazard to staff or its users. However, exposure to very low temperature with sudden loss, for example minus 200 C (50 F), can kill the insect, if they exposed to such temperature for at least a week.
- Exposure to an Oxygen Poor Atmosphere
Like all living animals, insects need oxygen to breath. If an oxygen–poor atmosphere is created, the insects at adults, larvae and even the eggs stage can not survive. To carry out such operation a vacuum chamber is required as well as a supervision of qualified conservator is must.
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[E] FUNGICIDES
A number of fungicides are used for the prevention and control of fungus growth on manuscript. Fungi vary enormously in their response to toxic chemicals. Some can tolerate surprisingly high concentration of chemicals whereas others cannot. The effective use of fungicides therefore calls for an understanding of the optimum effective percentage. The following (table 12) gives the optimum percentage necessary for some of the common fungicides to be effective against all the different types of fungi that attacks manuscript in India.
Fungicide Solvent Optimum effective
percentage
Mercury chloride Water 0.2 %
Pentachlorophenol Alcohol 0.25%
Para-nitro phenol Alcohol 3%
Sodium fluoride Water 5%
Thymol Alcohol 5%
Sodium salicylate Water 10%
Sodium pentachlorophenate Water 10%
Safrol Alcohol Above 25%
Zinc chloride Water Above 25%
Zinc silicolfluoride Water Above 25%
Formalin Water Above 25%
Ammonia Water Above 25%
Carbolic acid Water Above 25%
(Table 12 The optimum percentage of some of the common fungicide)26
26 J.M. Glover, “Manual of Curatoship”, Butterworths publication, London,1984, p. 90
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[F] MISHANDLING
There is no doubt that natural causes like climate, light, Biodeterioration damages the manuscript, but equally, if not more, responsible are improper methods of handling manuscript while storing, displaying or transporting them from one place to another.
Manuscripts must be stored in appropriate boxes and while taking it out for study or display it should be covered with hand-made and acid free paper in tray. The manuscripts should handled by wearing gloves only to avoid finger marks on it. Fragile and brittle paper must attend carefully and if possible should be send for extensive conservation treatment to nearby Conservation Laboratory.
[G] FIRE SAFETY
Fire has a great potential to destroy material quickly and therefore, its destructive power need to be understood and managed accordingly. For elimination of fire we need to device technology involving three distinctive steps namely i.e.
1. prevention
2. detection and
3. extinction.
PREVENTION
Some measures which are preventive in characters includes facility for extinguishing fire by water hydrants at easy and approachable locations, use of fire resistance materials especially for interiors etc. so that the fire does not spread from one place to another.
Separate exits for evacuation of people trapped inside and use of good quality electric fitting should be done to prevent future fire incidents. Besides these measures it could be ensured that laboratory and other workshops should be far from the galleries and stores. Constant monitoring of electric fixture should be done periodically.
DETECTION
Immediate detection of fire is most important, so as to take action to extinguish it quickly before it is too late and become unmanageable. The detection systems are of various kinds such as,
I. Heat detectors
II. Smoke detectors
III. Flame detectors
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IV. Radiant energy detectors
V. Laser beam detectors which is the latest in the field of fire detection.
These detectors make the automatic alarm systems active to indicate fire or possibilities of fire.
EXTINCTION
After identifying the type of fire (as mentioned in chapter 2) a particular type of fire extinguisher can be used. Fire extinguishers are of various types.
1. Foam type gives thick foam which covers the area of the fire and cuts off the oxygen supply on fire. Suited for fire due to electric faults and fire of oil etc.
2. Soda Acid type gives a powerful stream of water due to action of acid on the soda, this is not suited for museum having organic materials but for other types it could be used.
3. CTC type uses carbon tetrachloride which is vaporized into gas and can be used in museum, but it is toxic in nature.
4. Carbon dioxide type is useful for museum.
5. Dry chemical type where chemicals are in dry powder form are used to extinguish fires of all types as they stick fast to the heated surfaces.
6. Halogenated hydrocarbonates are very much in use these days and are very effective in all types of fires.
So, the foam type and soda type are not suitable for museums but carbon dioxide type, dry chemical type, CTC type are most effective where organic objects stored. The fire extinguisher systems need to be inspected periodically and should be recharged on the dates of recommended by the manufacturers as chemicals inside them do not remain effective after certain time period.
[H] PREVENTION AGAINST FLOOD
1. Museum or repository buildings should be well away from the river banks, flood prone area or sea.
2. Museum or repository should not be in low lying areas where accumulation of rain water in case of heavy rains or cloud burst could be the heavy potential source.
3. Near the sea where in case of a cyclones, tidal ways rise or the tsunami waves could allow water to come inside the building.
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4. Drainage systems should be checked regularly for any leakage seeping inside the museum or repository building.
5. Materials such as paper, paintings, textiles and other organic materials should not be displayed or stored on ground floor or basement in flood prone areas.
6. Flood affected materials should not be allowed to dry too quickly and in no case one should try to open them up after drying it completely.
7. Freeze drying has a great potential and, therefore, materials in wet condition should be taken to such a facility to be handled by experts.
[I] PREVENTION AGAINST EARTHQUAKE
It is time to think that in the states of India preventive measures have not been planned in advanced to meet such challenges.
It is reported that the art of designing to resist earthquakes is still not fully developed using codes based on gross simplification with horizontal loading or base sharing as the design criteria for new buildings. But such codes can not be applied to historic buildings which are different structure typology. Many museum of Gujarat such as Museum and Picture Gallery, Baroda; Kuttch museum; Watson museum, Rajkot; Junagarh museum and few more are historic in nature and since some of them have completed 100 years recently.
In 1989 a quack rocked California and San Francisco. A 49 story office building shook for more than a minute and the top floor was swayed more than one foot from side to side. However, no damage was recorded. This was possible because California has the strictest building codes when comes to earthquake preparedness this shows that technology is there which is needed to be followed.27
27 ibid of Glover, p. 92