He knows it

In his review, “Making and Looking”, published in the February 6-7, 2016 weekend edition of The Wall Street Journal, Charles Ray writes about Picasso’s 1934 “Woman with Leaves”, one of the many revelatory sculptures in the Museum of Modern Art’s “Picasso Sculpture” exhibit. I have read many reviews and articles about the recently closed exhibit, but this one stands out for its focus on the physical processes involved in making a work of art. As Ray details them: “… making small impromptu molds from cardboard, filling them with wet plaster, stacking the resulting forms, and imprinting garden textures and shapes of leaves in the plaster…” Ray, a sculptor himself, knows that aesthetics and process are linked.

Job Posting: Post Graduate Mellon Fellowship, Paintings – Balboa Art Conservation Center (San Diego, CA)

The Balboa Art Conservation Center (BACC), an active regional conservation center located in San Diego, CA, is offering a one-year post graduate Mellon Fellowship in the conservation of paintings. Fellows will work with a wide variety of collection types performing conservation services in examination, treatment, analysis, and on-site surveys.
Applicants should be recent graduates of recognized conservation training programs. The stipend is based upon a salary of $33,000 plus benefits, four weeks of research leave, and a $1,500 travel allowance in support of approved study projects. The fellowship is scheduled to begin in September 2016. Interested applicants should apply in writing with a resume, three letters of recommendation, and three examples of treatment experience. Please submit applications by March 15th to:
Janet Ruggles
Executive Director
Balboa Art Conservation Center
PO Box 3755
San Diego, CA 92163
Digital applications should be submitted to info@bacc.org with the title “Mellon Fellowship Application” in the subject line.

Job Posting: Conservator of Paintings – Balboa Art Conservation Center (San Diego, CA)

The Balboa Art Conservation Center (BACC) seeks a collaboratively-minded and conservation treatment-oriented conservator of paintings to become an integral part of the staff of the Center’s painting conservation department. The department is staffed by conservators of paintings and a conservation technician and is supported by the BACC Registrar.
BACC is an active, nonprofit, regional conservation center located in the heart of the beautiful and historic Balboa Park in San Diego, California. The Park is home to a campus of cultural institutions such as the San Diego Museum of Art, Timken Museum of Art, and San Diego History Center. Since its founding in 1975, BACC has been devoted to the preservation of material culture held in both public and private collections. The Center’s services cover a wide spectrum including the formulation and implementation of treatments for paintings, frames, and paper artifacts, technical examinations using microscopy, infrared reflectography, and x-radiography, preventive conservation assistance, and environmental, general, and collection specific surveys. Types of paintings treated by BACC reflect the broad range of collections served and are of all periods and constructed with a broad array of materials. As the Center offers internships and fellowships on a regular basis, the working environment emphasizes an atmosphere of learning, collegiality, and cooperation.
The ideal candidate will have a solid background in painting conservation with a minimum of three years of post graduate experience. They will have highly developed practical skills with ability to accurately assess deterioration and damage, formulate appropriate treatment protocols, and undertake treatments both independently and as part of a team. Innovative thinking is required for challenging projects as are good analytical and problem solving capabilities. Strong attention to detail while working to project deadlines and sound project management experience are essential strengths sought.
Position requirements include a Masters Degree from an accredited conservation program or its equivalent in painting conservation, excellent writing ability, and good communication and interpersonal skills. Compensation is commensurate with experience while benefits are excellent and comprehensive.
Interested applicants should apply in writing with a letter of interest, resume, three letters of recommendation, and examples of treatment experience. Please submit applications by March 31, 2016 to:
Janet Ruggles
Executive Director
Balboa Art Conservation Center
PO Box 3755
San Diego, CA 92163
Digital applications should be submitted to info@bacc.org with the title “Conservator of Paintings Application”.

Archaeological Institute of America 2013-2014 Conservation Workshop Summaries and Proceedings Now Available Online

We are very pleased to announce that summaries of two interdisciplinary workshops on the integration of conservation and archaeology are now available on the website of the Archaeological Institute of America at https://archaeological.org/sitepreservation/hca
The publications include full transcripts of the panel presentations and panel discussions, as well as summaries of the key points of both workshops. The workshops were organized by conservators Claudia Chemello, Thomas Roby, Steve Koob and Alice Boccia Paterakis, and were presented in 2013 and 2014 at the AIA’s annual meeting.
The 2013 workshop Integrating Conservation and Archaeology: Exploration of Best Practices brought together conservators and archaeologists for a dialogue about the integration of conservation and field archaeology. Panelists shared their experiences on what constitutes responsible conservation, preservation, and stewardship of archaeological resources. The panel discussed moveable and immoveable cultural heritage, including terrestrial and maritime archaeological sites.
Panelists were C. Brian Rose, University of Pennsylvania Museum of Archaeology and Anthropology, Giorgio Buccellati, Cotsen Institute of Archaeology, University of Los Angeles, Matthew Adams, Institute of Fine Arts, New York University, Robert Neyland, Underwater Archaeology Branch, U.S. Navy, Alice Boccia Paterakis, Japanese Institute of Anatolian Archaeology, Kaman-Kalehöyük, Kırşehir, Turkey, Paul Mardikian, H.L. Hunley Project, Clemson University, and Thomas Roby, Getty Conservation Institute.
The 2014 workshop Interdisciplinary Studies: Archaeology and Conservation comprised archaeologists and conservators heavily involved in educational efforts in their respective disciplines and discussed the subject of the cross-education of both fields and the need for interdisciplinary studies.
Panelists were C. Brian Rose, University of Pennsylvania Museum of Archaeology and Anthropology University of Pennsylvania, Frank Matero, University of Pennsylvania, John Papadopoulos, Cotsen Institute of Archaeology, University of California Los Angeles, Ioanna Kakoulli, UCLA/Getty Program on the Conservation of Archaeological and Ethnographic Materials & Materials Science and Engineering Department, Kent Severson, Shangri La Center for Islamic Arts and Cultures, Christopher Ratté, University of Michigan, John Merkel, University College London, and Elizabeth Pye, University College London.
We gratefully acknowledge our workshop sponsors: the AIA Conservation and Site Preservation Committee, the Getty Conservation Institute, and the American Institute for Conservation of Historic and Artistic Works (2013). The GCI also provided support for panelist travel and the production of the transcripts of the workshop proceedings
Posted on behalf of Claudia Chemello, Thomas Roby, Steve Koob, and Alice Paterakis

This post is promoted by the AIC’s Archaeological Discussion Group (ADG). For more information about ADG, please visit ADG’s webpage.” (http://www.conservation-us.org/specialty-groups/objects/archaeological-discussion-group )

Treating Archaeological Copper Alloys on Site: A Survey on Current Practice

By Anna Serotta, Eve Mayberger, and Jessica Walthew

New York University has been excavating at the site of Selinunte in southwestern Sicily for almost a decade (NYU Selinunte excavation website). During the 2015 field season, the conservation team conducted an informal survey on the treatment of metal objects in the field (Wiki page: Copper Alloy Treatment Survey (CATS) 2015). The survey was conducted because the Selinunte conservators were not satisfied by the results of their current treatment protocols for newly-excavated archaeological metals. Although all three conservators had worked at other archaeological sites, they all received the same graduate training and had similar approaches to field conservation treatment protocols.
The survey was broken into categories regarding several commonly used treatment methods: cleaning, desalination, corrosion inhibitors, and coating, as well as issues of storage and re-treatment. Questions were distributed to a group of archaeological field conservators known to the Selinunte conservation team via email. The following is a summary of the initial survey results.

Scope of survey

There were 24 full responses from colleagues and input on individual questions from a handful of others.
Collectively, respondents have worked on approximately 50 different sites. The majority of these sites are in the Mediterranean, North Africa, or the Middle East (Greece, Cyprus, Italy, Turkey, Jordan, Israel, Egypt, Sudan, and Syria), but respondents have also worked in Pakistan, Mongolia, Peru, Panama, Chile, and on various sites in the Continental US. Almost all of these sites are terrestrial, although several respondents have worked on metals from underwater/shipwreck sites as well.
The condition of metals on all of these sites is of course extremely variable, but all respondents reported unstable copper alloys and bronze disease outbreaks on at least one of the sites on which they worked.

Cleaning

Most respondents use predominantly (or exclusively) mechanical cleaning methods for corrosion reduction.
Respondents generally avoid wet cleaning, except for the use of ethanol and/or a mixture of ethanol and water in combination with mechanical cleaning.
Most respondents avoid any sort of chemical cleaning, although some mention doing so in the past.
A minority of respondents did report using one or more of the following chemical treatment methods (predominantly for coins): Rochelle salts, alkaline glycerol salts, EDTA, formic acid, ion-exchange resins, Calgon, electrochemical and/or electrolytic methods; these methods are generally followed up with rinsing and mechanical cleaning.

Desalination

Most respondents do not soak their metals to remove soluble salts. This seems to have been a more common practice in previous years; several respondents mentioned discontinuing previously established soaking procedures on their sites.
Some respondents said that they only soak metals after chemical treatments to remove residues.
Several respondents questioned the efficacy of soaking to remove chlorides and mitigate bronze disease; since corrosion products like nantokite are not water-soluble, it is unknown what is actually being removed with soaking. In addition, there was some concern that soaking could actually have adverse effects on condition by exposing the metal to moisture and promoting chloride corrosion growth. The time-consuming nature of this treatment was also mentioned as a factor against its use. It can also be challenging to obtain enough deionized water for desalination.

Corrosion Inhibitors

Most respondents reported occasionally or regularly using benzotriazole (BTA) as a corrosion inhibitor.
Summary of BTA application protocols reported:
- BTA is generally applied by immersion (whenever feasible)
- Roughly half of the respondents who treated with BTA immersed in a vacuum desiccator. Availability of equipment and stability of the artifact were considered in deciding whether to immerse in a vacuum.
- Those respondents who reported the specific concentration all used 3% in ethanol; one responder mentioned the use of a brush application of 10% BTA for particularly concerning chloride-driven corrosion
- Immersion time varied considerably. Reported immersion times ranged from 15 minutes to several days.
  - Overnight, 12-24 hours, or 24 hours were the most commonly reported immersion times
  - Several respondents mentioned research supporting the optimal effectiveness of immersion for one hour
Several respondents have tried using 0.1M BTA + 0.01M AMT, as reported by Golfomitsou (ref 1); those who tried it generally did not notice much of a difference between this treatment and treatment with BTA alone
Additionally, a couple of respondents mentioned testing other corrosion inhibitors: e.g. cysteine, or carboxylic acid-based treatments (ref 2)
Several respondents only use corrosion inhibitors only when an object cannot be placed in a desiccated environment; otherwise, only preventive methods are used.
There were concerns raised regarding both the efficacy and the safety of BTA. (i.e. safety both during application and also safety concerns for people handling the artifacts). On one occasion concern was expressed about BTA interfering with future analysis.
The importance of rinsing in ethanol after treatment to remove excess BTA was mentioned. One respondent reported the development of a BTA-copper chloride complex within 24 hours.

Coating

Many respondents reported occasionally or regularly coating their copper alloy objects.
Paraloid B-48N was the most common material used, but many people also reported using Paraloid B-72, Paraloid B-44, and Incralac; there was one report of the use of cellulose nitrate.
When mentioned, factors influencing the choice of coating material included: availability, Tg, and whether or not solvent toxicity was a problem (pertaining to Incralac).
Many respondents did not indicate the method used for coated, but those who did generally reported coating by immersion; a couple of respondents reported two applications of the coating material.
Several respondents do not coat their metals and expressed some concern about the creation of microclimates under the coating film that would encourage further corrosion. A couple of respondents coat only in specific circumstances: when metals will be displayed or when consolidation is required.

Storage

Over half of the respondents store metals in silica gel at some or all of the sites on which they work.
Several respondents used the RP system and Escal bags (ref 3) for long-term storage.
Most of the respondents who use silica gel recondition it annually. One respondent reported reconditioning based on indicator color change. A few respondents who use silica gel report having no annual access to metals after treatment.
A couple of the respondents who do not use silica gel or other desiccated storage reported environmental conditions that were dry enough not to warrant micro-climates.
Some respondents expressed apprehension about using silica gel when yearly access for reconditioning was not guaranteed; these respondents are concerned that housing with unconditioned silica gel will cause greater problems than housing without silica gel. One respondent suggested that reconditioning yearly may not even be enough.

Re-Treatment

Over half of respondents were able to survey their metals to check stability. Some reported doing this regularly every year or every other year. Some respondents reported having too many metals for annual survey, so partial surveys were done, or more random checks, depending on time constraints and when metals are accessed by researchers.
Some respondents reported using silver oxide for treating bronze disease outbreaks; others reported using the same methods used for initial treatment. Several respondents questioned the efficacy of silver oxide and expressed concern about its implications for future analysis.

Our thanks to the respondents, who provided thoughtful responses to the proposed questions. The 2015 Selinunte conservation team hopes to create and conduct a more detailed set of questions examining metal treatment protocols and distribute the survey to a wider audience (especially to conservators who completed their training outside the USA) in the near future. While we hope to expand the limited scope of this survey, it has nonetheless brought up some interesting points. There is no standard protocol for the treatment of archaeological copper alloys, and while the conservation literature is vast, there are still many unresolved questions.
Of course, there won’t be a one-shoe-fits-all treatment for archaeological bronzes, as the condition of the artifact, available resources (material resources, personnel resources, time constraints, etc), storage conditions, access, site policies, and local politics are all factors that influence treatment decisions. However, the survey revealed disagreement from practicing conservators on some of the principles integral to the general methodology: is soaking useful or harmful? Is treatment with corrosion inhibitors or coatings effective?
While there have been other recent projects compiling data on the treatment of copper alloy objects, more formalized follow-up research seems like a necessary next step. We welcome your thoughts on effective ways to move forward with this conversation and look forward to organizing a workshop session or discussion at upcoming professional meetings.

References:

Golfomitsou, Stavroula and John Merkel. “Understanding the efficiency of combined inhibitors for the treatment of corroded copper artefacts.” METAL 07 Proceedings of the Interim Meeting of the ICOM-CC Metal Working Group (5): 38-43.
Gravgaard, M. and J. van Lanschot. 2012. “Cysteine as a non-toxic corrosion inhibitor for copper alloys in conservation.” Journal of the American Institute for Conservation 35 (1): 14-24. http://www.tandfonline.com/doi/abs/10.1080/19455224.2012.681618
Mathias, C., K. Ramsdale, and D. Nixon. 2004. “Saving archaeological iron using the Revolutionary Preservation System.” Proceedings of Metal 2004, National Museum of Australia Canberra ACT, October, 4-8 2004: 28-42. http://www.nma.gov.au/__data/assets/pdf_file/0020/346034/NMA_metals_s1_p3_saving_archaeological.pdf

“This post is promoted by the AIC’s Archaeological Discussion Group (ADG). For more information about ADG, please visit ADG’s webpage.” (http://www.conservation-us.org/specialty-groups/objects/archaeological-discussion-group )

Author Bios:
Anna Serotta is a Project Objects Conservator at the Brooklyn Museum. She received her Master’s Degree in Art History and an Advanced Certificate in Art Conservation at the Institute of Fine Arts, NYU, where she majored in objects conservation with a focus on archaeological materials. Prior to her work at the Brooklyn Museum, Anna held positions at the Metropolitan Museum of Art and the American Museum of Natural History, and she has worked as an archaeological field conservator on sites in Egypt, Turkey, Greece and Italy. Anna is a Fellow of the American Academy in Rome, a Professional Associate of the American Institute for Conservation, and also a lecturer for the Institute of Fine Arts Conservation Center.
Jessica Walthew is currently a Mellon Research Fellow at The Metropolitan Museum of Art in the Arts of Africa, Oceania and the Americas. She is a graduate of The Conservation Center, Institute of Fine Arts, NYU, specializing in archaeological and ethnographic conservation and has worked at Sardis, Turkey (Harvard-Cornell Expedition) and Selinunte (Institute of Fine Arts Excavations).

Job Posting: Conservator for Special Projects – Newberry Library (Chicago, IL)

TITLE: Conservator for Special Projects
INSTITUTION: Newberry Library
DEPARTMENT: Conservation Services
Summary: Reporting to the Director of Conservation Services, the Conservator for Special Projects coordinates digitization and exhibition conservation workflows, performs needed treatments on Newberry Library collection materials for digitization and exhibition, and assists the Director with conservation initiatives and other departmental activities.
Responsibilities:
Exhibitions, Digitization, and Special Projects:

Work with Library Exhibits staff and curators to plan, schedule, survey, prepare and install library materials for exhibits.
Coordinate and perform treatments on library materials for exhibition display.
Work with Digital Initiatives staff to plan, schedule, survey and perform treatments needed prior to digitization.
Work with Digital Initiatives staff to advise and/or provide assistance for preservation-friendly digital capture.
Works with the Director to plan, schedule, survey and perform treatments on library materials to be used in conjunction with other projects.
Monitors statistics for project workflows.

Conservation:

Specify, perform, and document treatments on Newberry Library collection materials. These non-circulating collections include a broad range of materials, including books, archival documents, maps, manuscripts on paper and parchment, photographs and other materials.

Assistance to the Director in the overall work of the department:

Participate in departmental tours and other forms of outreach.
Assist with disaster preparedness and recovery.

Other duties:

Participate in library committees.
Keep abreast of current developments in conservation, preservation, and related fields.
Perform other tasks or activities needed for the achievement of departmental goals.
May assist in training of volunteers and interns.
May assist in the education of Newberry Library staff in the care and handling of materials.

Qualifications:

Bachelor’s degree and graduate degree in Conservation of Library and Archival Materials or equivalent combination of training and experience required.
Minimum 2 years of experience in a relevant library or museum setting.
Knowledge of book history and structure.
Excellent hand skills and understanding of conservation theory, practice, and treatments for library materials.
Excellent communication and interpersonal skills.
Demonstrated ability to work independently, collaboratively and productively in a dynamic environment.
Excellent organizational skills and ability to meet strict deadlines.
Experience in evaluating and treating materials for digital imaging and/or exhibitions.
Experience in exhibition preparation, installation, and environmental monitoring.
Demonstrated record of continued education in the field.
Demonstrated ability to use spreadsheets, databases and other productivity software effectively.

Schedule: Full time exempt position. 35 hours per week, Monday through Friday, with occasional evening and weekend assignments.
Benefits: Group life, health, dental, and vision insurance; fifteen days of vacation the first year, twenty days thereafter; two personal days and six paid holidays annually; discount in bookstore and book purchasing service; long term disability, long term care and retirement plan available after one year of service.
Date Posted: February 4, 2016
Available: April 1, 2016
About the Newberry Library: The Newberry Library is an independent research library concentrating on the humanities, with an active educational and cultural presence in Chicago and well beyond. Free and open to the public, it houses an extensive non-circulating collection of rare books, maps, music, other printed materials, and manuscripts. These materials include more than 1.6 million books, 15,000 cubic feet of manuscript, and 500,000 historic maps; several collections rank among the best in the world. The Newberry serves more than 100,000 in-person users each year, in its reading rooms and with its public programs and scholarly events. Residential research fellowships support some 55 scholars each year. Areas of the collection’s special strengths include maps, travel, and exploration; North and South American Indians; the history of the book; the Renaissance and early modern world; American history and culture; Chicago and the Midwest; genealogy and local history; music and the performing arts; and the history of religion. Educational activities serving the intellectually curious public involve exhibitions, adult seminars, professional development programs for high school teachers, panel discussions, concerts, book talks, two semester-long undergraduate seminars, and other activities and events.
Email cover letter, resume, and contact information for three references to the Director of Human Resources at hr@newberry.org.
Please visit our Web site at www.newberry.org.
THE NEWBERRY LIBRARY IS AN EQUAL OPPORTUNITY EMPLOYER

Job Posting: Collections Conservator – Newberry Library (Chicago, IL)

TITLE: Collections Conservator
INSTITUTION: Newberry Library
DEPARTMENT: Conservation Services
Summary: Reporting to the Director of Conservation Services, the Collections Conservator coordinates general and special collections conservation workflows, performs physical care and treatment of Newberry Library collection materials, and assists the Director with conservation initiatives and other departmental activities.
Responsibilities:
Conservation:

Plan and coordinate treatment workflows for Newberry Library collection materials. These non-circulating collections include a broad range of materials, including books, archival documents, maps, manuscripts on paper and parchment, photographs and other materials.
Work with the Director of Conservation Services, Conservator for Special Projects, curators, and Reader Services supervisors to identify conservation needs and survey materials for grant proposals and conservation projects.
Work with Director of Conservation Services to determine institutional conservation and preservation priorities.
Specify, perform and document treatments.
Monitor statistics for conservation workflow.

Education and training:

Assist in training conservation staff in conservation and preservation activities.
Train and direct the work of volunteers and interns in conservation and preservation activities.
Educate Newberry staff in the care and handling of materials.

Assistance to the Director in the overall work of the department:

Assist in managing and implementing environmental monitoring and pest monitoring programs.
Assist in disaster preparedness training programs.
Assist in formulating and implementing departmental policy, producing reports and statistics, and database management.
Participate in tours of the department and other forms of outreach.
Assist in monitoring conservation equipment and supplies.

Other duties:

Manage small-scale outside library binding.
Participate in library committees.
Keep abreast of current developments in conservation, preservation, and related fields.
Contribute to conservation funding proposals.
Supervises Conservation staff in the Director’s absence.
Perform other tasks or activities needed for the achievement of departmental goals.

Qualifications:

Bachelor’s degree and graduate degree in Conservation or equivalent combination of training and experience required.
Minimum 5 years of experience in a research or rare book library setting.
Extensive knowledge of book history and structure.
Excellent hand skills and understanding of current conservation theory, practices, and treatments of library materials.
Demonstrated ability to work independently, collaboratively, and productively in a dynamic environment.
Demonstrated record of continued education in the field.
Experience managing workflows and supervising the work of staff, volunteers and/or interns.
Demonstrated ability to use productivity software including spreadsheets and databases effectively.
Excellent written, oral, and interpersonal communication skills.
Excellent organizational skills and the ability to meet strict deadlines.

Call for Nominations: J. Franklin Jameson Archival Advocacy Award – Society of American Archivists

J. Franklin Jameson Archival Advocacy Award

Society of American Archivists
The J. Franklin Jameson Archival Advocacy Award Subcommittee of the Society of American Archivists seeks nominations for the 2016 award.
http://www2.archivists.org/governance/handbook/section12-jameson
Established in 1989, this award honors an individual, institution, or organization that promotes greater public awareness, appreciation, or support of archival activities or programs. The individual’s or institution’s contributions may take the form of advocacy, publicity, legislation, financial support, or a similar action that fosters archival work or raises public consciousness of the importance of archival work. Contributions should have broad, long-term impact at the regional level or beyond. Up to three awards may be given each year.
Recent Winners:
2015: Adrena Ifill Blagburn
2014: LGBT Center of Central PA History Project
National History Day
2013: Dr. Warren Stewart
2012: Eve Kahn, Bebe Miller, Phillip Stewart
2011: “Who Do You Think You Are?” (NBC)
2010: The Gladys Krieble Delmas Foundation
2009: Ross King (Georgia Historical Records Advisory Board)
2008: Data-Intensive Cyber Environments (DICE)
Eligibility: Nominees must be from outside the archives profession. Individuals directly involved in archival work, either as paid or volunteer staff, or institutions or organizations directly responsible for an archival program are not eligible for this award.
Mailed materials must be postmarked by February 28, 2016 and should be sent to:
Franklin Jameson Archival Advocacy Award Committee
Society of American Archivists
17 North State Street, Suite 1425
Chicago, IL 60602-4061
Nominations may be submitted electronically; please see the nomination form for details. For more information on SAA awards and the nominations process, please go to: http://www.archivists.org/recognition/index.asp

Call me cynical

In the February 2, 2016 issue of The New York Times (“Upon Closer Review, Credit Goes to Bosch”), Nina Siegel writes about the exciting news that, after a careful study of its under layers by the Bosch Research and Conservation Project– using infrared photography and reflectography– a small 16^th century oil on panel “Temptation of St. Anthony” owned by the Nelson-Atkins Museum of Art in Kansas City, MO has been attributed to Hieronymous Bosch. Julian Zugazagoitia, the museum’s Director and Chief Executive Officer, is quoted as saying, “It’s the same painting, and all of a sudden you see it with more affection.” Call me cynical, but could it be the extra value that is making the painting more lovable?

An upheaval in the shared perception of what the past looked like

In the February 2, 2016 issue of The New York Times (“Temple of Dendur’s Lost Colors Brought to Life”), Joshua Barone describes how the Metropolitan Museum of Art’s MediaLab has created digital projections which restore the original painted colors to one section of the Temple of Dendur. He notes that the MediaLab will be working on other projections. Remembering how it was long thought that Michelangelo was a draftsman rather than a colorist until the restoration of the Sistine Ceiling undermined that notion, one can only imagine the upheaval in the shared perception of what the past looked like that such digital restorations will bring.