Sherry Butcher-Younghans - Historic House Museums

Historic House Museums
H istoric
House
Museums
A PRACTICAL H A N D B O O K FOR
THEIR CARE, PRESERVATION,
AND M A N A G E M E N T
Sherry Butcher-Younghans
New York
Oxford
OXFORD UNIVERSITY PRESS
Oxford University Press

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Copyright 1993 by Oxford University Press, Inc.
First published in 1993 by Oxford University Press, Inc.,
198 Madison Avenue, New York, New York 10016
First issued as an Oxford University Press paperback, 1996.
Oxford is a registered trademark of Oxford University Press
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.
Library of Congress Cataloging-in-Publication Data
Butcher-Younghans, Sherry.
Historic house museums:
A practical handbook for their care, preservation, and management/
Sherry Butcher-Younghans.
p. cm. ISBN 0-19-506952-8
ISBN 0-19-510660-1 (pbk.)
1. Historical museumsUnited StatesHandbooks, manuals, etc.
2. Museum conservation methodsUnited States.
3. DwellingsUnited StatesConservation and restoration. I. Title.
E172.B88 1993 363.6'9dc20 92-14870
3 5 7 9 8 6 4
Printed in the United States of America

on acid-free paper
THE MOST NUMEROUS kind of museum in the United States is the

historic house museum. Beginning with America's first historic site,
the Hasbrouck House at Newburgh, which New York State acquired because it had been one of Washington's Revolutionary War
headquarters, Americans have had a penchant for preserving houses
of historic importance and turning them into museums. That trend
was accelerated in the 1970s and 1980s by a wave of patriotism
with the bicentennial of the Revolution and a growing awareness
of the tragic destruction of much of our physical heritage in the
name of urban renewal. Today, approximately one-half of all museums in the country are history museums; and, among these, historic houses and sites outnumber all the rest.
We who work in the history museum field know these historic
house museums to be among the smallest museums in terms of
staff and budget. Many of them, in fact, are run entirely by volunteers. It is not surprising, then, that many historic house museums do not meet the professional standards of the museum
profession. For some, this is because they lack adequate financial
resources. It has been my observation, though, that the inadequacies as often stem from their being run by people who lack the
training or knowledge to do the job right. They do not know how,
and they do not know who to turn to for the help they need. They
feel intimidated by the regional and national professional meetings, which are attended almost entirely by professionals; and they
feel that they are looked down upon by the professional museum
people who might be able to provide the answers.
It is the good fortune of these historic house museums that a
very capable professional, who empathizes with them, has now provided many of the answers to the question: How can we do our job
the right way? Sherry Butcher-Younghans, in Historic House Museums: A Practical Handbook for Their Care, Preservation, and Management has made a very important contribution to our field. She poses
vi
Foreword
basic questions: What is the mission of the organization? How is it

organized? What do trustees do, and how do they relate to the
director and staff? Where can you go for help? How do you collect
and care for collections? How do you preserve the house for future
generations? How do you realize the ultimate purpose of helping
the public understand the meaning and importance of the house
museum? And finally, how can you use volunteers in accomplishing these things?
Ms. Butcher-Younghans draws on considerable work experience in the museum field, plus a solid academic background in
anthropology, muscology, and history, to produce a volume that
deals effectively with theory and practice, philosophy, and reality.
She does not patronize the reader, nor does she gloss over the inadequacies of many house museums. She makes clear the fiduciary
responsibilities we all bear for the buildings and objects in our care
and makes clear the consequences to future generations of improper conservation and care of the objects and buildings we hold
in public trust.
This is a book that belongs on the working book shelf of every
historic house museum and, indeed, on the book shelf of every
small museum. Its lessons on governance, collecting, conservation,
and interpretation apply equally well to museums of all disciplines.
We are all indebted to Ms. Butcher-Younghans for an enriching
addition to the literature of our field.
December 1991
WILLIAM T. ALDERSON
Former director,
The American Association for
State and Local History
ACKNOWLEDGMENTS
A BOOK IS RARELY created by the author alone, and this axiom is

especially true in this case. Many people freely and generously contributed their time, expertise, and insight in assisting in the making
of this manual. To all of them I am grateful.
I am especially indebted to my longtime friend and associate
Beverly Schilleman, who read every word (over and over again!!)
and offered her skill and intuition at each rewrite.
To my colleagues, who contributed to this volume with their
ideas and expertise, my special thanks: John Baule, Steve Laux,
Wendy Egan, Marcia Anderson, Lotus Stack, Cyndy Frye-Collins,
and Bonnie Wilson. I am grateful to Dr. William T. Alderson for
his infinite wisdom and perception, which he so freely shared with
me.
On matters of conservation in museums, I was well advised by
Ron Harvey and Jim Horns; to both, I am grateful. For his technical advice and straightforward explanations, I thank Charles Nelson, from Minnesota's State Historic Preservation Office.
I appreciate all the assistance I received in the collecting of photographs to illustrate this volume. For their indispensable help, I'd
like to especially thank Marita Karlisch, Neil Pose, the folks at the
National Trust for Historic Preservation, and the Minnesota Historical Society.
As always my appreciation goes to my mother, Nancy Palmer
who filled many of the gaps while I spent extended hours in front
of the computer. I, too, am grateful to my father, James Butcher,
who suggested to me that I write such a book.
Finally, my deepest gratitude goes to my husband, Tom, and
sons, Nick and Neal, who are patient, tolerant, and always forgiving of my absences when I am working on special projects.
My heartfelt thanks to all.
August 1992
Eden Prairie, Minn.
S. B.-Y.
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CONTENTS
1. Introduction, 3
2. Governing the Historic House Museum, 10
3. Where to Find the Help You Need, 24
4. Collections: The Essence of the Museum, 48
5. Storage and Preservation of the Museum's Collections, 68
6. Preservation and Care of the Historic House Interior, 103
7. Historic Housekeeping, 129
8. Architectural Preservation:
Maintaining the Historic House Exterior, 146
9. Museum Security: Protecting the Historic House, 168
10. Telling the Story: Interpreting the Historic House, 182
11. Volunteers in the Historic House Museum, 225
APPENDIX: ORGANIZATIONS, 237
REFERENCES, 243
INDEX,263
Historic House
Museums
1
Introduction
Take the Art of Buildingthe strongestproudestmost orderlymost enduring of the arts of man; that of which the
produce is in the surest manner accumulative, and need not
perish, or be replaced; but if once well done, will stand more
strongly than the unbalanced rocksmore prevalently than the
crumbling hills. The art is associated with all civic pride and
sacred principle; with which men record their powersatisfy
their enthusiasmmake sure their defencedefine and make
dear their habitation.
John Ruskin, Selections from the Works of John Ruskin
RESTORING HOUSES OF the past and establishing them as museums

has a long history in this country, a tradition heavily influenced by
the English custom of preserving ancient buildings and monuments. The earliest house museums in the United StatesHasbrouck House in Newburgh, New York, and Mount Vernon in Virginiawere both associated with our first president. Each site was
saved in the 1850s by insightful and public-minded individuals.
As time went by, more and more houses were rescued from the
ravages of time or demolition crews and placed in the hands of
trustees who managed the museums for the public. In the 1930s,
Laurence Vail Coleman, longtime director of the American Association of Museums, wrote that he could trace the rise of historic
houses established as museums "from about twenty open in 1895
to nearly a hundred in 1910 and to more than four hundred now."1
By the 1970s, thousands of museum houses across the nation
had opened their doors. Since the beginning, about 6,000 historic
properties have been preserved.2 The public's enthusiasm for
knowledge of its cultural past had greatly increased as Americans
Winterthur Museum in Winterthur, Delaware, displays two hundred historic-room

settings of American decorative arts spanning the time period 1640 to 1840. The
staff at Winterthur includes highly trained specialists who care for collections, historic buildings, and gardens. (Photograph courtesy of the Henry Francis du Pont Winterthur Museum)
redefined their attachment to history, especially on personal and

local levels. They flocked to historic house museums in great numbers, hoping to capture some of the essence of America's past, ft
became important to know which house in town was the oldest and
which was the former estate of the penniless immigrant who started
the successful local industry. These museums are symbolic and bear
witness to who we are and where we have come from.
At first, houses were saved because of their association with those
Introduction
who designed or built them, or made them their headquarters. We

saved homes that belonged to U.S. presidents, famous authors, infamous frontiersmen, men who amassed great fortunes and built
estates to prove it, and men who were in the vanguard of America's
wars. These were homes of the elite, usually white and most commonly male, not a representative sample of America's history. Yet
a movement has been afoot to balance the view of our past, to
bring the lives of everyday people, including minorities, into focus.
It is now becoming possible for visitors to see how a coal miner and
his family might have lived in a shack in Pennsylvania or where
domestic servants lived on the great estate of an industrialist or
how enslaved people carried out their lives on antebellum planta-
Log homes are commonly restored and operated as house museums in the midwestern
United States. This cabin, built in the dovetail style, was constructed in the 1850s
by Swedish immigrants. (Photograph courtesy of V. S. Arrowsmith, Isanti County,
Minnesota)
dons. Through the museum experience people's lives can be explored by learning what they thought and believed and how they
felt about their world.
The popularity of historic house museums sparks important
questions. Who tends these structures and how qualified are they
to manage them? How do they obtain the financial support that
keeps them in operation? What story are these museums telling the
public? Who comes to see them? What is the general quality of
historic houses in this country?
Some answers to these questions come from two recent surveys,
one on historic properties museums conducted by the National Trust
for Historic Preservation, and the other an independent survey of
historic house museums in the United States.3
Both surveys reveal that today most house museums are being
operated with a skeleton crew.4 Sixty-five percent of historic properties museums have no full-time paid staff, and 19 to 27 percent
employ only one full-time staff person.5 Clearly, volunteers for the
most part are running the typical house museum and keeping the
doors open to the public. These volunteershardworking, and enthusiasticperform their duties with great devotion and boundless
energy, but with no formal training.
Another crucial point revealed in the surveys is that while some
house museums have fairly large annual budgets, the majority operate on less than $50,000 annually. With so little moneybarely
enough to keep the roof repaired and the heat onmany museums are unable to hire the professional help to establish sound
exhibits and programs, to care for the furnishings and collections
properly, or even adequately to maintain the structure.
Once these museums are established, who visits them and what
does the public expect to find? While some museums, such as Mount
Vernon and Colonial Williamsburg are visited by over 1 million
people yearly, more than half receive fewer than 5,000 a year.6
Most visitors come to experience the story and learn something
about local history, but many come simply for the joy of "being in
the historic surroundings."7
Finally, what is the overall quality of historic house museums in
this country? The answer is that there is a great disparity between
the larger and more notable, well-managed and adequately funded
museumssuch as The Hermitage and Monticelloand their impoverished cousins, the struggling, volunteer-based, poorly funded
house museums found in communities everywhere. The former have
access to professional staff; evolving historical analyses (reinterpre-
Introduction
The easily recognizable Governor's Palace, at Colonial Williamsburg in Williamsburg, Virginia. This eighteenth-century village is one of the best-known historic sites
in the United States. (Photograph courtesy of the Williamsburg Foundation)
tation); proper care of buildings, furnishings, and collections; professional living history programs; researchers; and support staff.
The latter have few, if any, professionally trained staff, survive on
shoestring budgets, and often can present only poorly researched
and narrowly presented exhibits and programs.
There are many fine examples of historic houses in this country; however, the typical house museum can be described as the
poor cousin. This curatorial manual was written with these museums in mind. It is intended for those managers, curators, and
directorsboth paid and unpaidwho undertake historic house
Museum houses are often operated by hardworking, dedicated volunteers. Without

their efforts, many historic sites would not exist. (Photograph courtesy of Laura Ingalls
Wilder Memorial Society, Inc., DeSmet, South Dakota)
management with the difficulties and limitations inherent to the

small, low-budget museum. I have attempted to examine the universal problems and offer practical, inexpensive, and easyto-accomplish solutions to increase the professionalism of these
museums and close that great gap between the more professional
historic house museums and the struggling, less recognized institutions so commonly found across this country.
NOTES
1. Laurence Vail Coleman, Historic House Museums (Washington, D.C.:
American Association of Museums, 1933), p. 18.
2. Gerald George, "Historic Property Museums: What Are They Preserving?" Preservation Forum 3 (Summer 1989): 5.
Introduction
3. In response to the National Trust survey, George raised some troubling questions about how these properties are being cared for, funded,
and who is managing them (ibid., pp. 25).
Peggy Coats, while working as the historical resources supervisor and
director of Campbell Historical Museum, Campbell, California, polled house
museums about governance, programming, operating hours, tours, fees,
use policies, staff, budget, and revenues (Peggy Coats, "Survey of Historic
House Museums," History News 45, no. 1 (1990): 26-28).
4. Coats, "Survey of Historic House Museums," p. 28; George, "Historic Property Museums," p. 3.
7. Coats, "Survey of Historic House Museums," p. 28.
2
Governing
the Historic House Museum
To Govern is to make choices.
Due de Levis, Politique, XIX
WHETHER YOUR HISTORIC house is just being formed as a museum

or has been established for some time, it is important that those in
positions of authority, such as the site manager, curator, director,
and board of trustees, be aware of laws and regulations that pertain to the museum's management. They are responsible for knowing what local, state, and federal laws are pertinent to the successful operation of the organization.
Of particular interest to historic house museums are historic
preservation laws that affect historic structures and museums listed
on the National Register of Historic Places and those of National
Register quality. 1 Any modifications of a historic building must follow regulations set by the Department of the Interior in order to
remain on the National Register.2 In addition to preservation laws,
museum administrators and trustees must become familiar with and
comply with the local, state, and federal laws dealing with health
and safety in the workplace, building and fire codes, workmen's
compensation, copyright, contract, artists' rights, negligence, attractive nuisance, freedom of expression, and many other issues.
The museum should seek the advice of a qualified lawyer concerning legal liabilities and defining the status of the museum. An
attorney who practices corporate law can assist in filing for nonprofit incorporation, applying for tax-exemption status with the Internal Revenue Service, and explaining the legal responsibilities of
Governing the Historic House Museum
The Lincoln Home in Springfield, Illinois, is one of many house museums dedicated
to documenting the lives of past presidents of the United States. The house is preserved as closely as possible to its original form and includes many furnishings once
used by Abraham Lincoln. (Photograph courtesy of the Department of the Interior, National Park Service, Lincoln Home National Historic Site)
the museum's board of trustees. This attorney will interpret all local, state, and federal laws that affect the organization. It may be
possible to find a member of the community who will provide legal
services voluntarily; if not, it is worth the money spent to hire a
competent lawyer.
Defining the Status of a Museum

Nonprofit Corporations
Historic house museums are usually nonprofit public or private institutions that are classified as "charitable corporations." That is,
they control valuable properties and pursue charitable objectives
11
12
for the benefit of the public.3 If the museum is not incorporated,

it is classified as a charitable trust.
To be classified as a nonprofit corporation, the founders (incorporators) must have articles of incorporation prepared by an attorney and filed with the secretary of the state. If the articles are determined legally sound, a certificate of incorporation is issued and
the museum becomes a nonprofit corporation. After the articles
have been approved by the board of directors, the museum should
apply for tax-exempt status.
Tax-Exempt Status
As a nonprofit, in legal terms, a charitable corporation, a museum
qualifies for exemption from federal income taxation. This status
is especially attractive to benefactors who are allowed to deduct from
their income taxes a portion of their contributions to charitable
organizations. Tax-exempt status is also necessary in order to qualify for the Accreditation Program of the American Association of
Museums. Accreditation is a mark of excellence recognized
throughout the museum community.
In order to obtain tax-exempt status, application must be made
to the Internal Revenue Service as a charitable organization, by
filing Form 1023. It is important for museum administrators to
understand their proper Internal Revenue Code classification and
what it means. These stipulations are listed in the Internal Revenue
Code under 501(c)(3) organizations. 4 Information on applying for
tax-exempt status is provided by the revenue department of each
state, and the telephone directory lists a toll-free number for the
Internal Revenue Service.
Tax exemption must be sought from the state and local levels
as well as the federal. State and local exemptions release a museum
from most or all real property taxes and from state taxes on museum income. Museums may also qualify for exemption from state
and local sales taxes on items purchased for use in the museum.5
The Documents that Govern the Museum

No rational government exists without a documentconstitution,
charter, or articles of incorporationthat defines its operations and
explains the power of those who will regulate it. This document is
essential to the governing body in the museum, the board of trustees, because it is responsible, morally as well as legally, for carrying
out the purposes of the museum and ensuring its well being. It will
determine the allocations of authority and responsibility. Successful
management will depend on how carefully the governing document is written and how well it is understood, followed, and respected both by staff and trustees.
The articles of incorporation, constitution, or charterthe term
used depends upon how the nonprofit status is fileddefine the
museum, explain its operations, and describe how authority is organized and limited. It is essential to obtain the services of an attorney when drafting this document. This document should include the following information:
The name and location of the museum (corporation).
The purposes for which the museum is organized.
The system for operating the museum.
The method of governing the museum.
A statement of its specific powers to receive gifts, hold property,
and enter into contracts.
The number of trustees, or governors.
The procedures for selecting the governing officers, the length
of their terms in office, and their titles (president, vice president,
general council, etc.).
Provisions for the dissolution of the corporation and disposal of
its assets.
Bylaws
Museums also require bylawsthe internal rules of the museum
that govern its regulation. Bylaws define the roles and responsibilities of the trustees, director, and the staff.6 The trustees and directorif a director is in placedraw up the bylaws in accordance
with state law. An attorney should be consulted when drafting this
document. Bylaws must be reviewed, modified, and amended from
time to time to reflect changes in the museum's operation. All trustees
and staff should be thoroughly familiar with the museum's bylaws,
and all new trustees should be given copies to ensure that they
clearly understand their roles.
Museum bylaws typically cover:
13
14
Membership. A definition of categories and fees. Procedures for

handling delinquent memberships. Formal rules for membership
meetings: how they are conducted, where they are held, how
members are notified of meetings, and conditions for emergency
meetings.
Board of trustees. The number of members, their qualifications,
method of selection (election or other method of appointment),
and term of office. When and where the meetings will be held
and rules for attendance of trustees and director.
Officers, staff, and volunteers. The officers' (members of the
trustees who are elected or appointed to hold offices such as
president, vice president, secretary, and treasurer) responsibilities and procedures for removal. Roles of trustees and both paid
and unpaid staff.
Committees. The basic kinds of committees and their structure,
such as their responsibilities, how many members will serve on
each, as well as procedures for establishing them.
Financial provisions. Procedures for keeping account books and
records, preparing budgets, and reporting to the trustees on the
museum's finances, and a definition of the fiscal year. Provisions
for an annual audit of the records and books. Designation of the
person(s) who is authorized to sign checks, accept gifts, and enter
into contracts with vendors.
Amendments. Procedures for amending the bylaws themselves.
It may also be useful to include in the bylaws rules for recording proceedings of trustees' meetings, the principal evidence of the
board's functioning over the years.7 Minutes of proceedings are
permanent records and must be protected with copies kept in a
protective vault or off-site. Someone should be designated as recorder of the minutes, which must be thorough and accurate. Minutes must be distributed with expediency to each of the board
members.
Mission Statement
Often included both in the articles of incorporation and in the bylaws, the mission statement is a brief summary of the scope and
purpose of the museum. It defines the institutionthe time period, ethnic group, and geographic area it will represent, and the
objects it will collect. The statement is a basic guide and must be

well thought out. Funding agencies often will ask to see this document, and it is prudent to have it readily available.
Long-Range Plan
A long-term commitment to its goals helps to secure a museum's
future, and advance planning gives it direction and focus. Museum
administrators must set priorities and goals that integrate issues of
governance, collections management and conservation, educational
activities, exhibitions and programs, membership and public relations, and facilities (buildings and grounds). In order to accomplish
these aims, the museum must have a detailed strategic plan that
states objectives and defines supporting activities and outlines how
they are to be financed. The plan should cover at least a five-year
period, and each goal should be assigned a specific amount of time
for its accomplishment.
The museum director or senior administrator, with the aid of
an ad hoc committee or individual trustees, usually drafts the longrange plan.8 Once it is hammered out, the trustees, who should be
thoroughly acquainted with the document, must approve it. The
plan should be reevaluated yearly and, if necessary, modified or
amended. Some institutions may wish to review their plans biannually. Make the five-year plan an action document; use it and let
it work for the museum.
The People Who Govern the Museum
The governing body of a museum is called a board of trustees. The
trustees are private citizens who are usually without training in the
area of museums. They serve without monetary compensation.
Trustees are so named because of their obligation to the charitable trust, the museum, they administer. They hold a fiduciary
relation with the institution whereby each trustee is obligated to the
care of the museum and all that it contains for the public's benefit.
A trustee must be highly accountable to the museum, serving with
complete awareness and understanding of this fiduciary responsibility. His or her role is demanding and time consuming, and the
lack of monetary compensation for these services does not free a
trustee from liability in the operation of the museum.
15
16
Trustees are legally responsible to abide by certain basic duties

in administering the trust (charitable corporation).
Loyalty is a primary legal responsibility of a trustee. Trustees must
never take advantage of their position in the museum and must
scrupulously avoid any conflict of interest.
Trustees must exercise care and prudence in making decisions
concerning the museum.
Trustees must not delegate to others tasks that the trustees can
perform themselves.9
The trustee is accountable and wholly responsible, both ethically and legally, for every aspect of the management of the museum.
Roles and Relationships in the Museum
THE ROLE OF THE TRUSTEES
The role of the trustees and the director must be fully defined in
order to avoid the conflict that often occurs in small museums.
One of the board's primary roles is to secure funds for the museum to ensure its status as a nonprofit organization. Trustees must
be forward looking and strive to procure a solid financial future
for the museum. While the director plays some role in fund-raising
applying for grants and to some degree seeking public support, for
exampleit is not ordinarily the responsibility of the director to
secure capital from the community. All major fund-raising efforts
are the responsibility of the board with the assistance of the director.
In practical terms, the board guides the museum by setting policy and seeing that the director and the staff carry it out. In other
words, the board acts as the institutional manager or overseer, respectfully allowing the director and staff to conduct the day-to-day
operations.10 For example, if the board approves funding for an
educational program, it is the director's responsibility to see that
the project is developed and stays on budget, and that the museum's standards are maintained. If the board rejects a program, it
would be inappropriate for the director to develop it, just as it would
be improper for the trustees to tell the director how to implement
the program or the staff how to run it.

Director: Administrative Roles
Carries through museum policy

Assumes accountability for the museum budget
Manages operation of the museum budget
Manages operation of the museum
Creates long-range plans
Implements plans and activities
Hires and coordinates staff
The board of trustees selects and hires the museum director

and monitors the director's performance, resolving problems should
they arise. The director's performance and the museum's activities
should be reviewed and evaluated periodically. The chairman or
president of the board usually conducts the review and informs the
board members of whether their policies are being properly executed. 11
THE ROLE OF THE DIRECTOR
A director's role is to hire and to dismiss staff members and to

oversee their duties. He or she is ultimately responsible for the
performance of the staff. A director creates the long-range plans
with the help of the staff. These plans are submitted to and approved by the trustees before they are implemented by the director.
A director should be viewed as a peer of the trustees, not as a
servant to carry out their wishes. 12 The astute director will keep
the board abreast of the museum's activities and of the functioning
of the museum's operation. The president of the board should never
feel excluded, and the director should never be kept in the dark
about the board's views. 13
RELATIONSHIP BETWEEN STAFF (PAID AND UNPAID) AND TRUSTEES
The relationship of trustees and museum staff is formal, and both

parties should exercise mutual respect in their communications. 14
Just as a director should not dictate to the board, the board should
not dictate to the staff. Board members should communicate with
the staff through the director, or at the very least with his or her
17
18

Board of Trustees: Administrative Roles
Sets museum policy

Ensures funding
Assumes legal responsibility for the museum
Hires director
Monitors the director's performance
Works with the director
Does not work directly with staff
knowledge.15 This will protect staff from well-meaning, but potentially harmful interference by trustees. Trustees must be careful
about what they communicate to staff even in a chance meeting or
at a informal gathering. A trustee should never voice a personal
opinion to a staff member; such comments might be construed as
the view of the board overall. Generally, trustees should not act as
individuals; actions should be taken as an entire board.
Staff Management: Policies in the Museum

A Manual of Policies and Procedures
A manual that specifically defines policies and procedures of the
institution is essential to the successful operation of the museum.
The director should write the manual, involving the staff members
in the preparation and incorporating their suggestions. Their participation will help to create a thorough and usable document. The
trustees should approve the manual before it is implemented. Updating the manual is important. Periodic evaluation of procedures
serves to isolate inadequacies and problems in the system, serves as
a self-evaluation, and allows staff to review critically the overall operation.16
The manual should contain three detailed sections.
A DESCRIPTION AND HISTORY OF THE MUSEUM
The introduction explains the meaning and origin of the museum's

title, provides a brief history of the museum, and defines the symbols or logos used. Also included are the mission statement as well
Board of Trustees
Director
Staff
Volunteers
Flow chart showing relationships in small museums.
as a description of what the museum collects, how the collection is

used, and the role the museum plays in the community. 17
PROCEDURES FOR MUSEUM OPERATIONS
The functions of each department and staff responsibilities are a

part of the manual, including specific job descriptions for each staff
member, paid and unpaid. Outline museum policies regarding opportunities for continuing education and professional development
and training and define the relationships between staff members,
clarifying lines of authority (an organizational chart may be helpful). In full detail, describe how operations should be carried out,
reported, documented, and filed.18
Clear instructions are essential regarding security, procedures
for emergencies and visitor accidents, handling of special events
19
20
and complimentary memberships, use of vehicles and telephone,

mail services, facsimile machines, and photocopiers. Detailed procedures on securing service contracts, processing of purchase orders, and handling of petty cash must also be established.
THE PERSONNEL POLICY
The museum's personnel policy should contain information about

staff rights and responsibilities as well as employee regulations and
benefits. These should be carefully written, including provisions for:
Scheduled work hours.
Pay periods.
Definition of full-time and salaried and hourly employees.
Definition of benefit plans.
Holidays and vacations.
Leaves of all types (disability, maternity, emergency, sabbaticals).
Perquisites for paid and nonpaid staff (complimentary memberships, tickets to special events, parking, museum store discounts).
Grievance procedures (written set of procedures to deal with personnel complaints and how these should be filed and to whom).
Business travel.
Explanation of health and safety rights, such as right-to-know laws
concerning chemicals in the workplace.
Appropriate procedures for reporting accidents and proper steps
in dealing with them.
Legal rights of all employees, from rights regarding harassment
to such issues as catastrophic illnesses and smoking in the workplace.
House-Use Policy
The ambience of a historic house often appeals to private individuals, who may request to use them as locations for weddings, birthdays, educational conferences, business meetings, photo shoots, even
stage performances.
Some administrators, wishing to add extra income to the museum's coffers, will enthusiastically allow the public to rent the house
and grounds for special events. Others will allow restricted usage,
depending on the request, and only when certain types of food and
beverages are served. (For example, food must not be gooey or
sticky, and beverages must be nonstaining.) Other directors, however, hold the view that the historic house museum is an improper
location for private engagements because of the potential hazards
to interiors and collections, and therefore should not be rented out.
The issue is emotionally charged and one that must be examined carefully. It takes only one hapless incident to mar an important historic structure permanently. A burning candle carelessly
placed, an umbrella pointed too close to an oil painting, red wine
accidentally spilled on a historic rug will devastate an interior that
has been scrupulously preserved and tended for decades.
It is prudent to set firm rules and regulations and to enforce
them if private groups and individuals are to use the museum. If
the house-use policy restricts the alteration of period rooms for
events, then under no circumstance should furniture be relocated,
plants rearranged, curtains removed, or other decorations added
to the room. No exceptions should be made, or the policy will weaken
and eventually be ignored. The rules must apply to everyone. A
trustee who asks that a museum room be rearranged to accommodate a photographic session for a son's wedding is overstepping the
boundaries.
Having a house-use policy in place will clarify the museum's
position to the public. A rental agreement should also be created.
Both should be drafted by the director and approved by the trustees. If groups or individuals are interested in renting museum space,
they should apply in writing, explaining the purpose for which they
intend to use the space. The rental form should list all restrictions
for use and state the responsibilities of those entering into the
agreement.
A number of issues are important in the creation of a houseuse policy.
Who will be responsible for reviewing and assessing the requests?
Who will be responsible for scheduling and monitoring activities?
To whom will this person or department report if a problem arises?
Will the entire museum or only certain areas of the museum be
available for private use?
Will food and beverages be allowed in the museum? If so, what
types? Who will be responsible for serving and cleanup and what
are the procedures?
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Who will be responsible for security at each event? What procedures will security staff employ?
What are emergency procedures? Are they accessible to the security staff?
What activities will take place during the event and what restrictions apply? What specific activities are not allowed in the museumsuch as smoking, dancing, amplified music, or photography?
Which staff member will monitor the specific event and maintain
control?
What are the procedures if damage occurs? For example, an individual from a wedding party renting the house has broken a
ceramic planter, inadvertently pushing it over the edge of the
veranda. The staff member on duty should inform the renter of
the damage. The damage must be documented and fair replacement value established. If the party is unwilling to pay the damage, that amount should be deducted from the damage deposit
collected as part of the rental agreement.
After establishing a house-use policy, it should be kept current and
adhered to unconditionally.
The legal responsibilities of museums are complicated matters and
cannot be explored in detail in this book. The bibliography for
Chapter 2 in this book provides a basic listing of publications on
the topic. ALI/ABA, the American Law Institute/American Bar Association, Committee on Continuing Professional Education, annually offers a course on legal issues in museums. Resource materials prepared for the course are published in a handbook, and are
availablefor a feeby writing to
ALI/ABA
4025 Chestnut Street

Philadelphia, Pennsylvania 19104
NOTES
1. The National Historic Preservation Act of 1966 and the amendments of 1980 authorize the Secretary of the Interior to maintain the
National Register of Historic Landmarks and the National Register of
Historic Places. For legal information about historic preservation laws, see

Christopher J. Duerksen, ed., A Handbook on Historic Preservation Law
(Washington, D.C.: Conservation Foundation and the National Center for
Preservation Law, 1983).
2. Refer to The Secretary of the Interior's Standards for Historic Preservation Projects and Guidelines for Applying the Standards (Washington, D.C.:
Department of the Interior, 1979). It is available through the Government Printing Office.
3. Marie C. Malaro, A Legal Primer on Managing Museum Collections
(Washington, D.C.: Smithsonian Institution Press, 1985), pp. 4-5.
4. Marilyn Phelan, Museums and the Law (Nashville, Tenn.: American
Association for State and Local History, 1982), p. 9.
5. Alan Ullberg and Patricia Ullberg, Museum Trusteeship (Washington,
D.C.: American Association of Museums, 1981), p. 14.
6. Gerald George and Cindy Sherrell-Leo, Starting Right: A Basic Guide
to Museum Planning (Nashville, Tenn.: American Association for State and
Local History, 1986), pp. 81-82.
7. Ullberg and Ullberg, Museum Trusteeship, p. 43.
8. Ibid., p. 13.
9. Malaro, Legal Primer on Managing Museum Collections, p. 6; Phelan,
Museums and the Law, p. 156.
11. Ibid., p. 60.
12. G. Ellis Burcaw, Introduction to Museum Work, 2d ed. (Nashville,
Tenn.: American Association for State and Local History, 1983), p. 192.
13. George and Sherrell-Leo, Starting Right, p. 85.
14. Ibid.
16. Meipu Yang, "Manuals for Museum Policy and Procedures," Curator 32, no. 4 (1989): 273-74.
17. Ibid., p. 270.
18. Ibid.
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3
Where to Find the Help You Need
Help is all about you.
Gerald George and Cindy Sherrell-Leo, Starting Right:
A Basic Guide to Museum Planning
THERE IS AN abundance of information about improving individual

museums and enriching the museum field as a whole. These resources provide technical help, assist in locating services, and identify programs for continuing education and possible funding sources.
Many are readily available, either at no cost or for a nominal fee.
Yet there are so many places to turn for assistance that it is
difficult to choose the right ones. This chapter will help to clarify
the information network, which can be somewhat baffling, by identifying and describing institutions that can aid historic house museums. Also listed are annual meetings, workshops, seminars, training courses, and conferences that provide opportunities for
information exchange.
National Museum Organizations

The following national associations were formed specifically for the
advancement of museums and museum professionals.
American Association of Museums
Founded in 1906, the American Association of Museums (AAM) in
Washington, D.C., represents the museum community as a whole
and addresses its needs. As both a professional and a trade association, AAM has more than 2,500 institutional and 8,000 individual
members, nearly 650 corporate affiliates, and 11 standing professional committees. Through AAM, members can also join the International Council of Museums (ICOM), which is dedicated to the
promotion of museums worldwide. Annual meetings, which draw
thousands of participants, are held in various locations around the
nation. Offerings consist of general sessions, panel discussions, and
workshops.
AAM also has six regional conferences that also sponsor annual
meetings in their geographic locations: New England (established
in 1919); Midwest (1928); Western (1942); Northeast (1947);
Southeast (1951); and Mountain Plains (1954). Some publish newsletters and other periodicals.
AAM publishes a bimonthly periodical, Museum News, which
carries articles on current issues and topics in the held, and the
monthly newsletter Aviso, which contains information about recent
federal legislation, grant deadlines, job openings, and upcoming
workshops and seminars. The Museum Directory, a listing of most of
the museums in the nation, is also issued by AAM.
The Technical Information Service helps members with questions pertaining to career development, staff and board relations,
museum management, professional standards, ethics, and collections preservation. Questions can be posed in writing to this service, which will do limited research and supply appropriate referrals at no fee. (There is a fee for nonmembers.)
AAM also offers two important programs: the Accreditation
Program and the Museum Assessment Programs.
ACCREDITATION PROGRAM
The Accreditation Program was established in 1970 in response to

the need for the profession to develop standards against which the
excellence of individual museums might be measured.
In order to be considered for accreditation, museums must meet
the basic definition of a museum set by the AAM Accreditation
Commission: "an organized and permanent nonprofit institution,
essentially educational or aesthetic in purpose, with professional staff,
which owns or utilizes tangible objects, cares for them and exhibits
them, to the public on some regular schedule.1 The process involves a rigorous self-examination and peer review of a museum's
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administration, curatorship, exhibitions, interpretative programs, and

plans. Two questions provide the framework for the review:
Given the resources available to it, how well does the museum
achieve its stated mission and goals?
How well does the museum's performance meet standards and
practices as they are generally understood in the museum field at
large?
MUSEUM ASSESSMENT PROGRAMS
To promote high standards in museums, the AAM created the Museum Assessment Programs (MAP) in 1981. MAP is administered
by AAM and funded through the Institute of Museum Services
(IMS), a federal agency. The programs are designed for museums
of all sizes and types, but are particularly helpful for small museums. Grants are noncompetitive and are awarded on a first-come,
first-served basis. There are three programs.
MAP I, Overall Operations and Programs, focuses on an analysis
of the museum's entire operations.
MAP II, Collections Management, aids in establishing policies,
procedures, and practices relating to collections management,
particularly documentation and preservation.
MAP III, Public Dimension Assessment, reviews how the museum communicates with the public and assists in improving the
variety and quality of public activities.
Museums taking part in a program complete a self-study questionnaire and a grant application. If the museum is eligible, a grant
is awarded to cover the cost of a one-day on-site survey and a written report by a qualified professional. The report, which is confidential, defines problems and makes recommendations for immediate and long-range improvements. Using the report as a basis,
the museum can make long-range plans, build a network of museum contacts, prepare for accreditation, educate the staff and board,
and strengthen fund-raising efforts.
American Association for State and Local History

Established in 1940, the American Association for State and Local
History (AASLH) has a strong tradition of serving historical organizations, especially smaller ones. Located in Nashville, Tennessee,
AASLH is one of the most valuable resources for historic house
museums, offering a variety of services.
Regional workshops, training sessions, and conferences on current topics of special interest to museum staff.
Grants-in-aid to researchers working on topics related to state and
local history.
Books, technical reports, leaflets, videotapes, and slide-tape programs through AASLH Press. Topics covered include museum
management, interpretation and education, preservation, historical restoration, historical research, living history, exhibits, collections management and care, and funding sources.
Members of AASLH receive the bimonthly History News, an
award-winning periodical that examines new trends and current
issues in the field. Other topics include discussions on challenges in
managing common to history museums and news about projects in
which other historical agencies and museum are involved. Members also receive the monthly History News Dispatch, a newsletter for
museum professionals and volunteers that offers news on recent
job appointments, placement listings, current developments, and
exhibit announcements. AASLH sponsors annual meetings, held at
varying locations, where current issues in state and local history,
museums, historic preservation and archeology are examined.
National Trust for Historic Preservation
The National Trust, located in Washington, D.C., is the major source
of general information on historic preservation that is not a part of
the federal government. A nonprofit membership organization
chartered by Congress in 1949, its mission is to preserve America's
history and culture by encouraging the public to participate in the
preservation of America's buildings, historic sites, and monuments
and to acquire and preserve historic properties. The organization
also acts as a clearinghouse for information on conferences, semi-
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nars, and training opportunities. It achieves its mission in a number of ways.

Providing educational programs on preservation to professionals
and volunteers at various locations across the nation.
Offering technical advice and carrying out preservation activities.
Serving as an advocate for the country's heritage in state and
federal courts.
Operating special projects to demonstrate how preservation approaches might be used to solve problems and aid revitalization
and economic development of the community.
Acquiring significant American properties and opening them to
the public, as house museums. (Currently the National Trust owns
and maintains seventeen properties.)
Sponsoring a national preservation conference held each year in
October.
Granting loans to members.
The National Trust for Historic Preservation offers its members
two important publications. Historic Preservation, a bimonthly, awardwinning magazine, features the National Trust's activities and preservation advice. Historic Preservation News, issued monthly, tracks
new legislation regarding historic properties and presents current
events in the field. A third publication, Preservation Forum, is available for upper-level organizational members. It is a bimonthly journal
that discusses nonprofit management, funding sources, national and
state news, training opportunities, archeology, and historic sites.
The toll-free National Trust Legislation Hotline provides current news on historic preservation legislation and policy. To hear
recorded messages call (800)765-NTHP. Callers may also leave
messages at this number.
The National Trust provides a number of services.
PRESERVATION SERVICES FUND
The Preservation Services Fund (PSF) provides small grants, usually $1,000 to $1,500, to nonprofit organizations and public agencies to support the initiation of preservation programs. The grants
must be matched dollar for dollar by institutions receiving the funds.
PSF funds may be used for professional consultant services, educational programs, and conferences.
NATIONAL PRESERVATION LOAN FUND
Created in 1984, the National Preservation Loan Fund (NPLF)

provides nonprofit organizations and public agencies with lowinterest loans, loan guarantees, and lines of credit for a wide range
of projects, including historic rehabilitation, restoration, and acquisition. For loan and grant information, contact the National Trust
office.
CENTER FOR HISTORIC HOUSES
The National Trust also runs the Center for Historic Houses. This
agency provides owners of historic houses with guidance on rehabilitating and caring for their properties. The center also provides
various educational programs, resource materials, and opportunities for networking with other homeowners.
Conferences, seminars, lectures, and hands-on workshops presented at locations across the country by well-known preservationists.
The Great American Home Awards, given annually to nominated individuals who have successfully rehabilitated their historic homes.
The Old-House Starter Kit, available for a small fee, with literature that answers questions about rehabilitating an old house.
An insurance program that offers replacement value on historic
residences.
National Institute for the Conservation of Cultural Property
The goals of the nonprofit National Institute for the Conservation
of Cultural Property (NIC), located in Washington, D.C., are to
preserve our nation's cultural heritage. NIC has initiated numerous programs and projects to fulfill their goals.
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CONSERVATION ASSESSMENT PROGRAM
The Conservation Assessment Program (CAP), funded by the Institute of Museum Services, provides noncompetitive grants to museums for conservation assessments. CAP grants assist museums in
examining their collections, museum environment, and historic
structure, and all procedures and policies affecting the collections.
The grant supports a two-day on-site visit and written report of a
general conservation assessor. This grant is especially useful to historic house museums because it will also provide for an architectural assessor, where appropriate. The report helps to identify overall
conservation needs and recommends action both for care and management of collections. CAP is a one-time award granted on a firstcome, first-served basis.
COLLECTIONS CARE INFORMATION SERVICE
The Collections Care Information Service (CCIS) provides bibliographic references on preventive conservation and collections care
to callers who use its toll-free number. The CCIS database contains
more than 1,600 entries and citations. Callers receive an overview
of the topic in which they are interested, bibliographic citations,
and information on how to obtain publications pertaining to the
subject. (Questions pertaining to treatments of individual objects
are not handled through this service.) Callers outside Washington,
D.C., can dial (800)421-1381. Those calling from the Washington
area should use (202)625-1495.
SAVE OUTDOOR SCULPTURE!
Save Outdoor Sculpture! (SOS!) was created by NIC to address the

serious problem of neglect of outdoor statues and monuments in
this country. The goal of SOS! is to survey all outdoor sculpture
throughout the nation using a network of trained volunteers.
BAY COLLECTIONS PILOT TRAINING PROGRAM
The Bay Foundation was established in 1950 by Charles Ulrick and

Josephine Bay to support their interests in art restoration and ed-
ucation. A grant from the Bay Foundation supports a series of course

curricula on collections-care training, published by NIC. The curricula focus on natural history, fine arts, history, and ethnographic
and archeological collections. These teaching materials are available at no charge to museums and organizations that are interested
in setting up collections-care training programs within their institutions.
Association for Preservation Technology

The Association for Preservation Technology (APT) was formed in
1968 to provide preservationist professionals from the United States
and Canada with a forum for exchanging information on building
technologies and exploring new methods for researching and preserving historic structures. APT also publishes the APT Bulletin, an
academic journal for the preservation specialist, and a bimonthly
newsletter, the Communique.
Federal Agencies that Can Help Historic House Museums

Advisory Council on Historic Preservation
The Advisory Council on Historic Preservation, an independent
federal agency in Washington, D.C., is the major policy adviser to
the government on historic preservation. The council was established by the National Historic Preservation Act of 1966. Nineteen
members make up the council, including the Secretary of the Interior, the Secretary of Agriculture, and other federal agency heads,
as well as preservation experts, one mayor, one governor, and private citizens. The council chair and vice chairpersons are appointed by the president of the United States.
The council is responsible for assessing the effectiveness of state,
local, and private programs in their implementation of the National Historic Preservation Act. This assessment is reported to the
president and Congress. The council also makes recommendations
for improving the national historic preservation program, provides
testimony and technical advice on legislative proposals relating to
historic preservation, reviews federal and federally assisted projects
that affect properties on or eligible for the National Register of
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Historic Places, and directs inquiries about historic preservation to

appropriate preservation organizations.
The council also publishes, at no charge, an important guide,
Where To Look: A Guide to Preservation Information, which identifies
historic preservation resources, and provides general bibliographies, lists preservation organizations, defines legislation and legal
control, and discusses economic incentives and many other preservation issues. Numerous other publications about historic preservation are available at no charge through the council.
National Park Service

The National Park Service, a bureau within the Department of the
Interior, operates many historic sites throughout the nation. One
of its primary functions is to assist government officials and Park
Service employees through programs, literature, and continuingeducation courses. Some programs offered by the Park Service are
available to the public. One of the most valuable training courses
for neophyte curators of museums is called Curatorial Methods
Training Program. This two-week course, usually offered annually,
concentrates on basic information essential to the care of museum
collections. Topics covered include scope of collections, museum
ethics, museum records, preventive conservation, museum security,
fire protection, emergency planning, collections management,
planning, programming, and funding. Four curators are selected
to participate in each class. Other courses for nonfederal employees are also offered. To receive a catalog of current training courses
offered by the National Park Service write to
Curatorial Methods Course Coordinator
Stephen T. Mather Employee Development Center
P.O. Box 77
Harpers Ferry, West Virginia 25425-0077
PRESERVATION ASSISTANCE DIVISION
The Preservation Assistance Division (PAD), a branch of the National Park Service, develops technical materials on preservation
for federal agencies, state and local governments, and individuals.
Two PAD series are published: (1) Preservation Briefs, which deal
with such topics as energy conservation in historic buildings, roof-
ing, mortar pointing, and the preservation of glazed terra cotta;

and (2) Preservation Tech Notes, which treat curatorial issues such
as storage environments for objects and the effects of sunlight on
historic furnishings. Preservation Briefs are available through the
Government Printing Office in Washington, B.C., or through each
state's historic preservation office. The cost is about $1 per issue or
the basic set for about $9. Preservation Tech Notes can be obtained
by writing to
Preservation Assistance Division
National Park Service
P.O. Box 37127
Washington, D.C. 20013-7127
Single copies are available at no cost.

The PAD staff will also answer questions from individuals pertaining to historic preservation, such as how to conserve energy in
historic buildings, how to retrofit a building with fire-safety equipment, and how to care properly for wood shingles. Inquiries can
be made by phone or by letter.
State Historic Preservation Office
The State Historic Preservation Office (SHPO) is another important source for historic house museums. Each state has a state historic preservation office; they are often housed in the state historical society or within a government agency such as state parks. SHPO
officers, appointed by the federal government, inform citizens about
historic preservation standards, report on legal concerns and tax
benefits, provide information on grants and loans for historic
properties, and nominate properties to the National Register of
Historic Places. In some states, the SHPO conducts workshops and
consults with individuals about preservation problems. Many keep
an up-to-date listing of area contractors and suppliers who specialize in historic restoration.
Regional Organizations that Help

Society for the Preservation of New England Antiquities
William Sumner Appleton, a pioneering preservationist who was
concerned with the vanishing material culture of New England,
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34
founded the Society for the Preservation of New England Antiquities (SPNEA) in 1910. Today this regional membership society
holds true to the traditions that Appleton set forth: to preserve and
document New England's past through its art, artifacts, and historic properties.
As part of SPNEA's mission, twenty-three house museums and
eleven study properties are preserved and interpreted for public
use. Study properties, including ten seventeenth-century houses and
one eighteenth-century meetinghouse, are used for architectural
research by students and scholars. Visits to these properties are by
appointment only. (Nine other properties are owned by SPNEA,
but are not open to the public.)
SPNEA offers several important services.
SPNEA RESEARCH AND STUDY COLLECTIONS
SPNEA manages in its properties collections of more than 100,000

household articles that represent 300 years of tradition in New England. Most of the objects in this well-documented collection are
household furnishings on view in twenty-three houses, many of the
objects original to the houses. The collections also include historic
wallpaper, textiles, architectural elements, and other objects. Some
of the collections are housed in a storage facility located in Haverhill, Massachusetts. Collections can be studied for research and
comparison purposes by appointment.
SPNEA ARCHIVES
SPNEA also maintains an archive of 1.5 million historic photographs, prints, architectural drawings, advertising materials and
manuscripts and illustrated publications that reflect New England
in former times. The archive staff members can answer inquiries
and assist in research. It is located in the Harrison Gray Otis House,
141 Cambridge Street, Boston, Massachusetts.
SPNEA CONSERVATION CENTER
The SPNEA Conservation Center, located at 185 Lyman Street,

Waltham, Massachusetts, maintains three divisions: the Architec-
tural Conservation Services, the Furniture Conservation Division,

and the Upholstery Conservation Division. The services these divisions offer are available to public agencies, nonprofit organizations,
businesses, home owners, and architects.
The Architectural Conservation Services can be employed to
perform a number of consulting services in historical construction
projects.
Provide architectural history and chronology of changes to buildings.
Make recommendations for the repair, restoration, and replication of historic structures.
Write reports on historic structure.
Supervise conservation and restoration treatments.
Conduct historical paint research.
Replicate historical paint colors.
Re-create original or early decorative finishes.
Conduct research on historical wallpaper.
Advise on cleaning, repointing, and replacement of masonry
structures.
Consolidate or replace deteriorated wood.
Offer courses and lectures on various aspects of technical architectural conservation.
The Furniture Conservation Division and the Upholstery Conservation Division provide a full range of services, including
Conserving traditional finishes.
Performing gilding.
Identifying fiber content, pigment, and wood.
Reupholstery: partial or complete traditional reupholstery and
noninterventive (stabilizing fabrics without adding or removing
anything) upholstery treatments.
Performing nonabrasive cleaning and repair of hardware.
Creating suitable finishes where inappropriate finishes are present.
At SPNEA each treatment is adapted to the conservation needs
of the object. Conservators are also available for surveying environ-
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mental conditions of collections while on exhibit and in storage, as

well as long-range conservation planning.
Agencies that Fund Museums

Institute of Museum Services
Institute of Museum Services (IMS) is an independent federal agency
in Washington, D.C., that was established in 1976 to improve museum services by issuing grants. IMS currently funds several noncompetitive and competitive programs for which museums are eligible.
General Operating Support. This grant is given annually in a
competitive program created to improve museum operations.
Grants, in the amount of 10 percent of the museum's operating
budget to a maximum of $75,000, are made by a peer review,
focusing on how effectively the museum uses available resources.
To apply, write to the American Association of Museums for the
GOS application forms.
Conservation Project Support. This program, also competitive,
provides matching grants for projects relating to conserving museum collections. The grants usually do not exceed $25,000. Write
to AAM for the application forms.
Museum Assessment Program. As mentioned earlier in the chapter, the Institute of Museum Services funds MAP, MAP II, and
MAP III, and the American Association of Museums administers
this program.
National Endowment for the Humanities
A federal program in Washington, D.C., the National Endowment
for the Humanities (NEH) is designed to assist museums through
grant awards for exemplary work that will advance and disseminate knowledge of the humanities. The grants are made through five
divisions (Education, General, Research, and State programs; Fellowships and Seminars) and two offices (Office of Challenge Grants,
and Office of Preservation), which support museums and individuals working in museums. Information about the divisions and of-

fices of NEH and instructions on making application are available
from the Office of Publications and Public Affairs. You can call
(202)786-0438 or write to
National Endowment for the Humanities
1100 Pennsylvania Avenue, NW
Washington, D.C., 20506
National Endowment for the Arts
Also located in Washington, D.C., the National Endowment for the
Arts (NEA) is a federal assistance program that supports projects
in the visual and performing arts. Through its Museum Program,
application for funding may be made for special exhibitions, utilization of museum resources, care of collections (arts), professional
development, museum purchases (to acquire work of living American artists), and an arts and artifacts indemnity program (to obtain
insurance for international exhibitions). For additional information
and copies of the guidelines, call (202)682-5442, or write to
1100 Pennsylvania Avenue, NW
Washington, D.C. 20506
J. Paul Getty Trust
The Getty Trust is a private foundation in California dedicated to
the visual arts and humanities. It administers the J. Paul Getty Museum, as well as six programs: the Getty Center for the History of
Art and the Humanities, the Getty Conservation Institute, the Getty
Art History Information Program, the Getty Center for Education
in the Arts, the Museum Management Institute, and the Program
for Art on Film.
GETTY GRANT PROGRAM
The Getty Grant Program provides assistance for projects relating

to scholarship in art history, art museums, and conservation. The
program's newest category, Architectural Conservation Grants, is
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of particular interest to house museums. Established in 1988, these

grants support the conservation of buildings of outstanding architectural, historical, and cultural significance throughout the world.
In order to qualify for a grant, a building or group of buildings
must be owned by a nonprofit entity and open to the public. In the
United States, a building also must be designated as a National
Landmark and included on the National Register of Historic Places,
although in certain instances State Landmark properties included
on the National Register will be considered. Approval by the legal
owner of the building must be granted in order to qualify for the
grant. The proposed conservation project must focus on the repair
and conservation of the structure and fabric of the building. Work
relating primarily to maintenance, capital improvements, systems
upgrading, or adaptive reuse is not eligible for support. Projects
usually include on-site training opportunities for specialists in architectural conservation or related crafts. The three funding categories of the architectural conservation grants are Project Identification, Project Preparation, and Project Implementation. Most grants
are awarded at the project identification and project preparation
stages.
For information on and guidelines for the Architectural Conservation Grants, contact
Getty Grant Program
401 Wilshire Boulevard, Suite 401
Santa Monica, California 90401
Conservation Organizations
American Institute for Conservation of Historic and Artistic Works
Located in Washington, D.C., The American Institute for Conservation of Historic and Artistic Works (AIC) is a nonprofit professional organization whose goal is to uphold standards of professional conduct and to advance knowledge and improve methods of
conservation in preserving cultural property. Through publications
and annual meetings, AIC conservation professionals are able to
exchange information on conservation practices and share knowledge on new materials and techniques for slowing the decay and
deterioration of historic and artistic works.
AIC publishes the Journal of the American Institute for Conservation

(JAIC) twice a year, a bimonthly Newsletter, and the AIC Directory,
which lists names and addresses of all members and includes the
"AIC Bylaws and Code of Ethics and Standards of Practice" in the
field of conservation.
CONSERVATION SERVICES REFERRAL SYSTEM
The Foundation of the American Institute for Conservation of

Historic and Artistic Works (FAIC) administers this program, which
assists institutions and individuals in making informed choices on a
wide range of conservation issues. The staff will undertake a computerized search to identify and locate a professional conservator
to assist with specific conservation problems. All conservators in the
referral system are members of the American Institute for Conservation of Historic and Artistic Works. Contact the Services Referral
System by telephone (202)232-6636, by facsimile: (202)232-6630,
or by writing to
Foundation of the American Institute
for Conservation of Historic and Artistic Works
1400 16th Street NW
Suite 340
Washington, B.C. 20036
Canadian Conservation Institute
The Canadian Conservation Institute (CCI), located in Ottawa, is a
division of the Museums and Heritage Branch of the Department
of Communications. CCI's mandate is to provide conservation
treatment and research service. Although the institute is for use by
Canadian institutions, its staff members are willing to share their
experience and knowledge with others and will readily answer
technical questions and provide advice on materials and commercial products that can be used in museums, on specific treatments
and conservation procedures, and on the basic care of collections.
Send inquiries about collections care by mail or call.
CCI offers to anyone interested their publications: CCI Newsletter, CCI Notes, and a series of technical bulletins. Most are available
at no cost and are of great value to the curator because of their
practical information and how-to instructions on a wide range of
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topics such as caring for basketry, methods for displaying books,

creating storage systems for paintings, and mounting small, light,
flat textiles. For a listing of publications write to
CCI, Extension Services
1030 Innes
Ottawa, Ontario K1A OC8
Canada
Textile Conservation Workshop

The nonprofit Textile Conservation Workshop, in South Salem, New
York, provides conservation services in a fully equipped laboratory
at minimal cost for museums, historical agencies, and private individuals. The workshop also conducts surveys for smaller museums
on the physical condition of textiles collections and makes recommendations for storage, treatment procedures, and exhibition. It
offers lectures and informal discussions to interested organizations
on the care, proper handling, storage, and display of textiles. Its
outreach educational program specifically targets small museums
that need advice on preventative measures in caring for textile collections.
New York State Conservation Consultancy
In Elmsford, New York, The Consultancy was formed to provide
expert conservation advice on the care of collections in smaller museums, historical societies, and other nonprofit organizations in New
York. It offers three services: conservation information, surveys,
and seminars on conservation education.
The Consultancy's conservation information services, which are
free of charge, include issuing advice on the care of collections and
making referrals to conservators and suppliers of conservation materials. Bulletins on conservation issues relevant to historic house
museums are also available. These are obtainable for a nominal
charge to any interested museum staff or individual. Write to
New York State Conservation Consultancy
c/o Lower Hudson Conference
2199 Saw Mill River Road
Elmsford, New York 10523
The Consultancy will also provide, free of charge, surveys conducted by conservation specialists on caring for historical collections. Five types of surveys are offered: a general survey, or overall assessment of the collection; an environment survey, which
focuses on the climatic conditions affecting collections; a storage
survey, in which storage conditions are assessed; an exhibit survey, which focuses on general exhibit practices or on the specific
needs of a collection on exhibit; and a treatment survey, in which
condition reports are made on specific collection or objects. After
a survey is completed, a written report and recommendations for
improvements are made. The Consultancy also offers professionallevel seminarsgiven in various locations in New York stateon
conservation relating to care of collections.
Many other regional conservation organizations can provide artifact treatment for a fee (see Appendix).
Conservation and Collections Care Center at Peebles Island
A staff of five conservators that treats objects belonging to New
York's historic park sites (of which there are thirty-four) works at
this facility near Albany, New York.
The Harpers Ferry Conservation Laboratory
Run by and for the National Park Service, this facility employs conservators who work with site managers who direct the 337 park
sites. Conservators not only treat objects, but also assist site managers in collections maintenance and management.
Publications that Help the Historic House Curator

It is essential that every historic house museum keep a library of
books and periodicals on museum topics for the professional development of the staff and for reference. The American Association of Museums and the American Association for State and Local
History each issue catalogs listing books for museum professionals.
Both organizations provide publications catalogs to members several times a year. Many state and local historical societies publish
books that are pertinent to historic houses. Request recent catalogs
from historical societies in your region. Periodicals are important
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in keeping museum professionals abreast of current trends and issues and in finding solutions to common problems. In addition
AASLH offers a vast number of technical leaflets, reports, and audiovisual presentations on topics related to museum management, restoration, education, public relations, security, furnishings, insurance, housekeeping, building construction, house technology, and
other relevant topics.
Books
As a foundation, the books listed below are suggested to cover the

primary topics of concern to curators of house museums. These
books offer valuable and practical information, and they should
become well worn within a short time. Each is available in one of
the above-mentioned catalogs.
William Alderson and Shirley Payne Low, Interpretation of Historic
Sites (Nashville, Tenn.: American Association for State and Local
History, 1976), is an essential resource that offers ideas for developing and conducting interpretative programs at historic sites.
The authors are well acquainted with a variety of levels of budgets for historic house museums and offer helpful advice on developing a strong interpretative program appropriate for the
museum.
Edward P. Alexander, Museums in Motion (Nashville, Tenn.:
American Association for State and Local History, 1979), is a
general work on the functions of museums in this country. It
includes a helpful history of the museum profession; it defines
the roles of different types of museums and the ways in which
museums function.
American Association of Museums, Museum Ethics, 2d ed. (Washington, D.C.: American Association of Museums, 1991), is the official report on the ethical principles to be applied to all areas of
museum operations. This small book is essential reading for all
museum staff, volunteers, and trustees.
American Association of Museums, Museums for a New Century
(Washington, D.C.: American Association of Museums, 1984), offers museum professionals' examinations of the major issues museums face and recommendations of how to deal with these challenges.
Dorothy Dudley, Irma Bezold Wilkinson, et al., Museum Registration Methods (Washington, D.C.: American Association of Mu-

seums, 1979), is a standard manual for registering, managing,
storing, and caring for museum collections.
Kathleen Brown Fletcher, The Nine Keys to Successful Volunteer Programs (Rockville, Md.: Taft Group, 1987), discusses how to establish and manage a successful volunteer program.
Carl E. Guthe, The Management of Small History Museums (Nashville, Tenn.: American Association for State and Local History,
1988), is a time-honored work. It offers advice on defining the
museum's purpose, governance, funding, collections, and interpretation. Use it as a guide in managing the historic house museum.
A. Bruce MacLeish, The Care of Antiques and Historical Collections,
2d ed. (Nashville, Tenn.: American Association for State and Local History, 1985), describes, in clear terms, conservation strategies in caring for and preserving historic objects. It includes particularly useful information on preventive measures in preserving
collections and on improving standards for storing collections.
Arminta Neal, Exhibits for the Small Museum (Nashville, Tenn.:
American Association for State and Local History, 1976), is a classic
book that offers advice on creating effective exhibits while coping
with small budgets and limited resources.
The Secretary of the Interior's Standards for Historic Preservation Projects and Guidelines for Applying the Standards (Washington, D.C.:
Department of the Interior, 1979), is a guide for properties eligible for or already on the National Register of Historic Places.
It defines recommended preservation treatments and those that
are not, as they apply to historic properties. Available through
the Government Printing Office in Washington, D.C., Museum
Trusteeship (Washington, D.C.: American Association of Museums, 1981), is a standard handbook on governance in museums. It covers such important topics as the legal and ethical
accountability of the board of trustees, structure and operations
of the board, relationships between board members, directors,
and staff, and policy-making in the museum. This book should
be carefully read by trustees and museum staff.
Periodicals
The major journals in the American museum profession are Museum News, History News, Curator, and the Museologist. Also impor-
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tant are the National Trust periodicals: Preservation Forum, Historic
Preservation, and Preservation News.
The Old-House Journal, published since 1973, is also important
for those who manage historic houses. It is a popular guide with
practical information on general preservation and maintenance of
houses built before 1914. The Old-House Journal Catalog, published
annually, is useful for locating companies that sell architectural materials needed for restoration, as well as services required for this
work. The catalog can be found in most bookstores. For a subscription to The Old-House Journal, write to
Old-House Journal Corporation
2 Main Street
Gloucester, Massachusetts 01930
Many other periodicals are available that are of use to the historic house curator. Some journals, such as American Quarterly, Journal of Interdisciplinary History, Nineteenth Century, Social Education, and
Journal of American Culture, often carry articles that explore life during
different periods in American history. Other articles discuss the
cultural and social importance of material objects used in historic
houses. Periodicals such as Journal of Garden History and Landscape
discuss such topics as historic landscapes and their meaning and
changes through time. Several journals deal with architectural
preservation, such as American Preservation and Technology and Conservation, and American Architecture and Journal of the Society of Architectural Historians carry articles on the significance and development
of U.S. architecture. The Decorative Arts Trust Newsletter deals with
the furnishings commonly found in historic houses and museum
collections and discusses their influences and importance.
Education and Professional Development for Museum Staff

Many state historical societies, state museums, and museum associations offer outreach programs, workshops, and seminars on topics
relevant to museums. State historical commissions, historic preservation organizations, historic preservation offices, arts organizations, and state and regional humanities councils also sponsor conferences, lectures, classes, and seminars that are of interest to the
staffs of historic house museums. Library associations are another
source for courses and workshops on topics dealing with archival
preservation. These organizations can be located through the telephone directory.

The simplest way to discover what educational events are being
offered is to ask professionals at museums in the area. It is important to know the local museums and to get acquainted with the
staff of other historic house museums. They may be able to answer
questions on puzzling problems and can serve as moral support
since they are often faced with challenges similar to your own.
Training Through Museum Organization
In addition to training sessions for museum professionals, volunteers, and trustees offered by the American Association for State
and Local History and the American Association of Museums, some
larger museums offer training in various aspects of museum work,
ranging from American material culture to collections management. Among these are the Smithsonian Institution in Washington,
D.C., Colonial Williamsburg in Virginia, the Winterthur Museum
in Delaware, Historic Deerfield in Michigan, and the National Trust
for Historic Preservation. The National Park Service also offers a
few training courses.
Courses in Museum Studies
Various universities and colleges around the nation offer degree
programs in museology (museum studies), architecture, archaeology, landscape architecture, museum conservation, and historic
preservation studies. Some universities run graduate-level degree
programs in museum studies, such as New York University, which
offers an intensive, interdisciplinary program, and the University
of NebraskaLincoln, which offers a broad-based program for those
interested in a career in museums. Other universities offer a variety of courses in museum studies through art history, anthropology
and history departments.
The Cooperstown Graduate Program in History Museum
Studies is cosponsored by the State University of New York at
Oneonta and the New York State Historical Association. Founded
in 1964, the program awards a master's degree in history museum
studies to those who complete either the regular track or the continuing education track. Either course is designed to train gener-
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alists, providing a foundation in all aspects of museum work. The
curriculum emphasizes museum studies, including theory and procedures, ethics and professional standards, administration, collections management, education, and research. Both practical and
professional skills necessary to museum work are taught. For more
information about the Cooperstown Graduate Program write to
CGP
P.O. Box 800
Cooperstown, New York 13326
The Center for Historic Preservation at Middle Tennessee State
University in Murfreesboro offers both undergraduate- and
graduate-level programs for anyone interested in historic preservation studies. At the undergraduate level, the historic preservation program prepares students for careers in preservation, planning and administration, and historic site interpretation and
management, combining theory with practical experience. The
graduate program at MTSU offers the M.A. and D.A. degrees in
history with emphasis in historic preservation. For information write
to
Center for Historic Preservation
Box 80
Middle Tennessee State University
Murfreesboro, Tennessee 37132
Senior Museum Professionals
The Museum Management Institute (MMI), designed for senior
museum professionals, offers a four-week program every summer,
geared to critical management issues. Topics include negotiation,
conflict resolution, resource allocation, financial analysis, marketing, the politics of organizations, ethics, legal issues, intergroup dynamics, organizational change, and strategic vision. The MMI is
sponsored by the Getty Trust, the Art Museum Association of
America, and the University of California at Berkeley. MMI is taught
at the University of California, Berkeley. For information write to
Museum Management Institute
2510 Channing Way
Suite 4
Berkeley, California 94704
The Williamsburg Seminar on Historical Administration is a

four-week course, held annually, designed for professionals in
preservation management. It explores all facets of historical administration and is a must for directors, curators, and managers of
historic museums. The seminar is jointly sponsored by the American Association for State and Local History, the American Association of Museums, Colonial Williamsburg, and the National Trust
for Historic Preservation. This annual course is held in Williamsburg, Virginia.
The Winedale Museum Seminar, sponsored by the Texas Historical Commission and the Winedale Historical Center, University
of Texas, is a twelve-day course geared to middle- to upper-level
museum professionals or to experienced volunteers. Sessions cover
such topics as grant writing, fund-raising, financial planning, trustee
relations and board development, staff relations, volunteer management, marketing, ethics, and museum politics. Classes consist of
lectures, discussions, group problem-solving, practical exercises,
participant presentations and hands-on activities. Field trips to area
museums are included. The seminar is usually held twice a year,
depending on funding, and is held in Round Top, Texas. Contact
Texas Historical Commission
P.O. Box 12276
Austin, Texas 78711
The Museum Management Program, a one-week course held
annually during the first week of July at the University of Colorado
Conference Center in Boulder, is a general program geared to senior managers from all types of museums. The topics vary somewhat from year to year, but the focus is on critical issues in museum management such as the handling staff needs, working with
advisory committees, trustee selection, developing new revenues,
influencing communities and local government, and taking positions on sensitive issues in the field. For information contact
Office of Conference Services
University of Colorado
Campus Box 153
Boulder, Colorado 80309-0153
NOTE
1. American Association of Museums, Museums for a New Century

(Washington, D.C.: American Assocsiation of Museum, 1984), p. 75.
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Collections: The Essence
of the Museum
In planning for the growth of its collections, we urge each museum to set, clear, rational and appropriate goals for the contribution it can make to the stewardship of our cultural and
natural heritage. It is important that every museum collect both
carefully and purposefully. Each museum must exercise care
by collecting within its capacity to house and preserve the objects, artifacts and specimens in its stewardship; each must collect purposefully by continuing its own traditions of quality and
diversity. A periodic review of the collections policy will ensure
that it is in keeping with current professional standards and the
purposes of the institution.
American Association of Museums, Museums for a New Century
THE COLLECTION AND preservation of objects that represent our

cultural past are generally agreed to be a museum's most important
functions. It is the collectionthe objects exhibited and stored
that is the very essence of the historic house museum.
Objects help to flesh out the stories that make up our world.
Objects are what draw us to museums: they teach us about our past
and help us understand the present. Objects are powerful. They
have the ability to strike chords in our subconscious and to provoke
memories. The sight of an old textbook used by a student or the
odor of kerosene burning in an oil lamp can draw out past experiences or create new ones.
Objects can stir our senses. The impact of what we see, hear,
touch, and smell in an old house cannot be repeated in a photo-
Collections: The Essence of the Museum
Trunk brought by Swedish immigrants to "Amerika" containing utilitarian objects.

Artifacts such as these make up collections contained in historic house museums.
(Photograph by Jerry Taube, courtesy of the American Swedish Institute)
graph or on film. It is the touch of the cool, smooth stone facade,

the smell of the leather furnishings and polished wood, the hum
of the old ceiling fan in the master bedroom, or the carved woodwork in the grand hall that make up the experience.
It is the experience of objects and their environment that visitors seekand it is museum manager's job is to collect the proper
objects to help create that experience. Along with the thrill of collecting materials for the museum, however, comes a serious re-
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sponsibility: collections must be maintained, preserved, documented, and secured. If the collection is not well managed, the
museum has failed to carry out a primary function.
Management of Collections
Historic house museums most commonly house utilitarian objectstools, household articles, furniture, china and glassware, and
other furnishings. Many have examples of period costumes and
archival materialsbooks, letters, diaries, and photographs. Some
own valuable paintings, prints, or tapestries. Much of this material
is organic and can deteriorate easily in uncontrolled environments.
Yet all too often staff and volunteers are inadequately trained in
managing collections or have little time to devote to their care
they may be struggling simply to keep the programs running and
the roof repaired. Nevertheless, museums must make a commitment to protect and preserve their holdings in order to assure the
museum's future.
Is it possible to collect significant objects of material culture and
to care for them appropriately? Can the museum afford a salary
for professionals and provide adequate training for volunteers? Does
the museum fully understand that, in accepting objects for its collection, it also commits to their preservation? Should the trustees,
in good conscience, accept objects that could deteriorate in a museum environment, despite the care given them?
These questions are not easy to answer. Lack of community
support, financial backing, or commitment to excellence may inhibit a museum from properly caring for its collection. If a museum cannot maintain basic preservation standards, its collection
should be placed in another institution where the proper care can
be provided. However, once a museum has made a commitment to
maintain the collection several fundamental steps must be followed. The most important is to write a collections management
policy. The most basic document used in administering collections,
the policy often is required for grant applications and may be requested by potential donors who wish to determine if the aims of
the museum are serious.
This document explains, in exacting detail, the purpose of the
museum, its collecting goals, and its procedures for acquiring and
disposing of objects, handling loans (both incoming and outgoing)
and insurance. It should be precise yet flexible enough to handle
Collection of "Santos" and other religious artifacts at Martinez Hacienda, Taos,

New Mexico. (Photograph, courtesy of Kit Carson Historic Museums)
the unexpected opportunities that may arise.1 While the policy should
be written by those who work most closely with the collections, it
should be accessible to, and respected by, all staff members and
trustees.
A typical collections management policy covers the following
points:
The museum's purpose and what it hopes to contribute to the
public through its collections. The type of collection and its geographical or chronological confines should be defined: are the
objects to represent the general time period of the historic house
or are they only to include original material, furnishings that once
belonged to the house?
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Methods for acquiring items Acquisition may be defined as the

"discovery, preliminary evaluation, negotiation for, taking complete custody of, documenting title to, and acknowledging receipt
of materials and objects; or negotiating for and recording information concerning borrowed objects."2 The policy must include
specific instructions on how objects proposed for the collection
are accepted and documented, and the legal method and documents required for the transfer of title from previous owners to
the museum.
The criteria for acquiring objects. The standards an object must
meet before it can be considered for the museum's collection. A
thorough history of the object is essentialits owner, function,
origin, maker, or manufacturer and any other pertinent information.
Guidelines for establishing an acquisitions committee to make
recommendations to the curator and director in assessing the value
of an object for a specific collection.
Methods for deaccessioning or disposing of items. (Deaccessioning refers to removing an object permanently from a collection.)
This section must be written clearly and explicitly. Explain why
objects may be deaccessioned; for example, they are no longer
relevant or serve the purpose of the museum (refer to charter
purpose), or they are unstable or seriously deteriorated and cannot be preserved by the museum. Describe how to handle the
object after it has been deaccessioned. This part of the policy is
very important, given the delicate nature of disposing of objects
that might have been donated by members of the community.
Some accepted methods of disposition are (1) donating the object
to another museum or tax-exempt cultural institution, (2) selling
the object, with proceeds going to an acquisitions fund, (3) transferring the object to an "educational collection" (one that can be
used and touched by museum visitors), and (4) destroying the
object if it is in total disrepair.
Include a statement on ethical considerations; that is, the museum will not sell or give deaccessioned objects to museum staff,
volunteers, trustees, or their immediate families or representatives. A statement on public disclosure of deaccessioned objects is
also important.
Procedures for handling incoming and outgoing loans. Museum
objects should be loaned only after approval by the director and
curator and only after the object's safety during transport and
exhibition are assured. The staff member responsible for monitoring the loans should also be identified in the policy.
LOAN PROCEDURE
1. The museum requesting a loan completes a facilities

report, which includes details concerning its security and climate control systems, methods of transport and handling,
and insurance.
2. A loan agreed upon, the curator completes a loan form
listing the borrower's responsibilities and prepares a condition report disclosing the condition of the object before it
leaves the museum.
3. The borrowing institution issues a Certificate of Insurance and the object is released.
4. On receipt of the object, the borrowing museum checks
the condition report and reports any changes that might have
occurred in transit.
Procedures for inventories. A schedule should be established for taking inventory of the museum's collection.
Procedures for insurance coverage. Dealing with lost or
damaged objects and loans to other museums and keeping
the insurance company apprised of new donations. Procedures for the appraisal of collections and how often it
should be done.
The guidelines provided above are just that, a guide. They are
but one pattern of a collections management policy. Your policy
should be tailored specifically to the needs of your museum. When
it is time to write the policy it may be helpful to look at policies
from several other well-run historic houses or small museums.
The collections management policy is a tool that should be used
by everyone.
Code of Ethics
All museums need to establish principles to guide directors, curators, staff, volunteers, and members of the governing body. In 1991,
the American Association of Museums revised the handbook on
museum ethics and added that all nonprofit museum members of
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AAM are to subscribe to the code as a condition of membership.

(This code of ethicsbecause of complex issueswill not be finalized until 1993.) The association also states that by January 1, 1997,
each nonprofit member must have its own written code of ethics:
although the standard code of ethics is in place, each museum is
unique and requires a tailor-made policy specifying standards for
professional behavior and proper actions. This policy may be written as a separate document or incorporated in the collections management policy. There are a number of questions to consider in
setting down the policy.
What are the museum's responsibilities in managing and conserving the collections? Who will use collectionscuratorial staff,
museum interpreters, the public? How will the museum acquire
objects and dispose of them?
What are the guidelines for curators who collect in the same
areas they curate? In the past, art museums encouraged their curators to build personal collections in the belief this practice would
enhance the curators' knowledge and understanding. Today most
museums restrict personal collecting because of a potential conflict
of interest. In 1986, the International Council of Museums (ICOM),
composed a general code for museum professionals, citing the dilemma of "personal collecting, and the basic obligation not to complete with one's institution for objects, and the requirement to provide a personal inventory to the museum." 3 The ethics code established by the Curators' Committee of the American Association of
Museums also requires curators to provide inventories of their private collections, offering their institutions the opportunity to acquire objects before adding them to their personal collections. In
May 1991, an AAM task force hammered out a new code of ethics
containing more stringent rules on personal collecting.
Personal collecting is one of the most complex issues of museum ethics, and not everyone agrees on policy. The important
consideration here is to define clear guidelinesin accordance with
the AAM code of ethicsfor your museum and to set them in writing. For guidelines, refer to the American Association of Museums,
Museum Ethics; the Association of Art Museum Directors regulations; and the Curators' Committee Ethics Code (an AAM committee), copies available through AAM.
How does the museum appraise objects? This procedure is well
defined for museums; it is unacceptable for staff members to provide tax appraisals for donations. To avoid conflict of interest, pro-
spective donors should hire and pay for an independent, professional appraiser who will prepare a written valuation.
What policies will the institution establish regarding gifts, discounts (on personal purchases from suppliers to the museum), and
dispensation of valuable items that are available because of a staff
member's association with the museum? The AAM Code of Ethics
strictly states that no employee may accept gifts unless they are of
"trifling value" or discounts unless they are regularly offered to the
general public.
What are the policies on outside employment and consulting?
How does the institution deal with sacred objects and other sensitive materials that the collection may include or may be offered
to the museum? How will it handle potential donation that have
been imported illegally, collected unscrupulously, or stolen?
What will be the director's responsibilities to the museum? What
principles will guide the board's relation to the director, and the
director's to the staff? How should the staff communicate with the
members of the museum?
In addition to the collections management policy and the code
of ethics, a personnel manual outlining specific policies of the museum is essential. Each employee should have a copy, as well as a
detailed, up-to-date job description of each position in the museum.
Museums' Methods of Collecting

Museum collections grow in a number of ways: by gifts from the
public made to the museum, by purchases sought by the curator,
or by transfers, exchanges, or gifts from other educational institutions.4
The most prudent type of collecting is that which is done actively. The curator identifies the gaps that exist in the current collections or defines new categories to be represented. Objects are
sought and collected that fill those categories. Collecting must also
be done systematically with a definite plan appropriate to the mission of the museum and in harmony with the museum collection
policy. Good collecting is a recognition of an institution's limitations and boundaries and is evaluated regularly to ensure its appropriateness to the mission of the museum.
Unfortunately, the most common method of acquiring objects
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in small museums, passive collecting, is the least beneficial. Passive

collecting takes place when a curator accepts all objects presented
to the museum by the public, regardless of their significance, relevance to the collection, or provenance (their origin, maker, cultural
affiliation, or source). This, in essence, is allowing the public to
decide what objects the museum will hold, care for, and display. It
is difficult to collect actively because it requires money, and often
there are little or no funds from which to draw. Consequently, many
historic house museums have become "public attics"places where
well-meaning people drop off antiques, books, photographs, vintage clothing, and other items they cannot bear to throw away. Or,
with the thought that the family name will appear on an exhibit
label, they contribute bags full of "important" historic objects from
great Aunt Clara's estate. Perhaps a trustee offers to the museum
the very spinning wheel that grandmother brought with her when
she came to America in 1872. Currently, in the museum's collection there are twelve spinning wheels in good condition, all dating
from the same time period and the same geographic region as the
one being offered, presenting a difficult decision.
To circumvent such acts of "good will"and to be more purposeful in collectinga curator will need a strong sense of responsibility and purpose. The decision to accept an object should be
based on its characteristics and not on who the donor is. No matter
how well meaning or powerful the donor may be, ensure that the
object is germane to the museum's purpose and that there is a reasonable chance that it will be used. If a proffered object does not
fit the museum's collecting philosophy, refer the donor to another,
more appropriate museum. A word of warning about donations
given with stipulations.
When an object is accepted, it must be free of restraints to ensure that it may be used appropriately and properly cared for.
Endless display of an artifact is not stimulating to museum audiences nor is it good for the object. The rule is never accept conditional gifts, no matter how good they appear. It is often difficult
for a curator to stand firm against a distinguished donor who offers a seemingly valuable collectionwith strings. Accepting such a
gift can only burden the museum by allowing the donor to maintain control. The museum's scope could change, and there should
not be donor's restrictions preventing the curator from giving the
object to a more appropriate museum.
Long-term loans can be another burden to a museum. Often
curators accept such loans because they believe that eventually the
objects will be given to the museum. This thinking is erroneous! If

a museum appears eager and willing to store and care for a privately owned collection, owners will often avoid donating it, either
because of the effort involved or because they have no intention of
actually parting with it. Unfortunately, curators are lulled into
thinking of the lent objects as the museum's own property. After
years of "curating" long-term loans, a museum may be no closer to
owning a collection than the day it arrived. A family or an institution, if it can prove ownership (and it usually can), can reclaim its
possession and the museum is obligated to return it.
Since curators are responsible for the care of objects accepted
for the collection, and caring for objects is an expensive undertaking, discrimination in collecting is essential. Do not accept everything that is offered! It is also helpful to know what other institutions are collecting; by keeping in touch with other museums in the
area, unnecessary duplication can be avoided.
Making Judgments in Collecting

Several basic questions need to be asked when deciding whether to
accept an object.
Is the object relevant to the purpose and priority of the museum?
What is the quality of the object? Is it a rare piece? Does the price
fit the acquisitions budget?
How important is the object? Is it important to the experience of
the historic house? Does it explain a process or a particular tradition specific to the museum?
Is the object well documented? Who made it, who used it, and
where did it come from? Without this information, an object loses
its cultural and historical context, and consequently its integrity.
Gone are the days that an article has value simply because it is
beautiful. Museum professionals need to be selective in acquiring
objects, and select those with known provenance.
Is there room for the object in storage? Is it too big or too fragile
to store properly?
Can the museum properly care for the object, either in storage
or on display? If not, another institution should be sought to serve
as steward of the object.
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Can the object be exhibited or studied without the expense of

special conservation work or cleaning? If not, are these resources
available to the museum?
Will the object be duplicated in the collection, and, if so, is this
acceptable? Is the museum collecting a wide range of the same
object for a particular reason?
These questions may be difficult for one curator to answer. Many
museums have an acquisitions committee to assist curators in assessing the significance and usefulness of an object in relation to
the museum's goals. The committee may be made up of professionals from other museums, board members, educators, historians, collectors, or anyone who has an understanding of the museum's mission and collecting goals. Acquisition committees are
helpful in making suggestions; however, the final decision of whether
to acquire materials for the museum rests in the hands of the director after a recommendation has been made by the curator.
Reevaluating Collecting Strategies
Museums periodically need to reevaluate their collecting to ensure
continued development. This can be done by studying the existing
collection and evaluating its strengths and weaknesses. Serious
questions must be asked: Does the collection support the mission
of the museum? Are there gaps and if so, what objects should be
added to make the collection more comprehensive? Does the collection fulfill the museum's goals as a resource for research? Does
it provide adequate materials for exhibition and interpretation? What
does the assemblage communicate to the public?
Collecting Strategies
Collecting strategies can take many forms and directions, each plan
will be unique to the individual museum. An essential part of the
strategy is to keep the museum's collecting goals firmly in mind.
These goals and the plan to accomplish them should be included
in the long-range plan.
A common strategy for museums whose mission is to document
the life of a founding family is to collect only those objects that
once belonged to the family. This approach is logical, of course,
but can be restrictive, conveying little about the family in a broader

societal context. One way to broaden this focus is to collect material
about the daily lives of the family and the people connected with
the house. For example, questions might be asked about children
in the familyhow they related to the domestic help, schoolmates,
and friends. How did they view their social position and how did
their life-style compare with and contrast to that of other children
in the area? The lives of workmen, neighbors, and the local religious figures might also be examined within the context of the house.
A sampling of their personal objects as well would shed light on a
wide range of life-styles common to a period.
If past owners of the house employed servants, information might
be sought about the social structure that existed between servants
themselves. What did they wear while they worked? How did they
dress on their days off? How did they entertain themselves? What
did they write to their friends and families about their experiences
while living with the wealthy family?
Where and how does the curator go about collecting such materials and information? Facts might be found in such records as
postcards, letters, diaries, and photographs. Perhaps even some of
the clothing and personal effects of the family's servants have been
kept by descendants who still live in the locality. Oral histories can
provide details about relationships, attitudes, prejudices, personal
habits, and life-styles in general. Information can also be gleaned
from a study of the spatial arrangements of the house itself and
the furnishings and objects within it. The size of rooms and their
location in the house in relation to other rooms offer insight into
people's values and their views, even their "placement" within the
hierarchical structure of the household.
Documenting Objects
Museums are "legally and ethically obligated to assemble certain
basic information about their collections and to maintain it according to accepted professional standards." 5 Documenting fleshes out
objects and provides a "real" sense of the qualities that each possesses. It is a way of gaining knowledge about past life-styles and
folkways that are no longer a part of contemporary culture. Without an idea of the history of an object, a museum is unable to tell
its entire story. This is an area where a museum, as a repository of
past information, cannot afford to be negligent.
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The details about an object can often be obtained by asking the

donor or previous owner some basic questions. Who was the original owner? Where and how was the object made? Who designed it?
When was it made and how long was it used? Is it still used? What
replaced it? Who designed it? Has it been modified or altered in
any way?
Registering Collections
Procuring information about objects is only the first step. Once data
about an object are collected, the object must be registeredthat
is, organized and stored in the museum's filing system.
Registration is a complex but absolutely necessary process. By
registering a porcelain tureen, a woven bed coverlet, or a flintlock
musket into a collection, one is, in essence, creating a written record of the object's existence, previous owners, physical description, condition, location in the museum, and what it means or has
meant to people.
All too often, small museums struggle with large backlogs of
unprocessed acquisitions, most of which have no accompanying
historical information. Unprocessed materials are a great weight on
museums and remain so until they have been cataloged or, if necessary and appropriate, deaccessioned. A museum cannot deaccession an object, before the curator verifies ownership.
Objects may be mismarked, marked impermanently with tape
or stickers that easily fall off, or are not fully cataloged. Donor
cards may be missing, or historical information may not have been
recorded. New curators frequently inherit incomplete and disorganized records because in the past no trained personnel were
available to register incoming gifts or well-meaning curators kept
mental records of acquisitions instead of in written documents, or
perhaps the task was simply ignored.
After an object has been accepted into the museum's collection,
the registration process begins. Each is carefully documented and
properly marked, and records are begun. Computerized or standard filing systems may be used. Many books have been written
about appropriate museum methods of registration. One of the most
widely used is Museum Registration Methods by Dorothy Dudley and
Irma Bezold Wilkinson.

CATALOGING OBJECTS
Let's follow an object through the typical steps taken when an object comes to a museum for possible acquisition.
1. The staff issues a temporary deposit receipt form. This
form documents the object being left in the temporary care
of the museum. It should contain the owner's name, address, and telephone number, the date received, and a short
description of the object. The form should also note whether
the object is to be considered for purchase or as a gift. One
copy is given to the lender, and one is retained for the museum's files.
2. If the object is made from an organic material such
as wood, cloth, leather, or basket fiber, isolate it from the
collections until the curator has determined whether an insect infestation, a mold, or an inherent defect exists. Nonorganic materials, such as ceramics, metals and glass, ordinarily do not have to be isolated.
3. If the object is donated a deed of gift form or form
of acceptance is drawn up. This extremely important document, the legal form for transfer of ownership, must be
carefully completed for every museum accession. It contains
the accession number of the artifact and acknowledgment
that the museum has accepted the gift and is signed and
dated by the donor and countersigned by the curator. The
original document is kept in an accession file folder, which
is begun with each new accession, and a copy is given to the
donor. If preparation of the document is neglected, and
questions of ownership arise, the legal repercussions can be
serious.
4. If an object is purchased a bill of sale or deed must
be obtained. This proof of purchase document must be kept
in the accession file, along with any other documents about
the object's authenticity, value, and history. A record of who
sold the object, where it was sold, and the date of the transaction must also be kept.
5. The deed of gift is returned to the museum and the
object is recorded in the accessions register, usually a bound
ledger. Entries should be made in permanent ink and should
include the current date, the accession number, a brief description of the artifact, and the source and related data.
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The accessions register serves as a sequential record for all

objects that have been accepted for the museum's collections, and can be reviewed quickly without going through
each individual catalog card. The pages of this ledger should
be photocopied and kept in a safety deposit box off the
premises as a permanent record of museum acquisitions.
6. Compilation of data begins. The curator gathers as
much information as possible about the object. A good place
to start is with the donor or previous owner, whose oral history might answer questions of origin, date made, previous
ownership, and function. The curator will also search for
historic and recent photographs, drawings, or blueprints,
consulting reference books and catalogs and conferring with
specialists. All of this information, in transcript form, is placed
in the accession file.
7. The object is then assigned an object number, which
consists of three units and usually looks like this: 92:01:01.
The first two units are the accession number. The first unit
refers to the year; the second, to the sequence in that year's
acquisitions. A third unit is the catalog number, which refers
to the number of objects in the accession. For example, the
first acquisition in the calendar year 1992 might be a gift of
three handwoven rugs. The first rug would be assigned the
number 92:01:01. The first number indicates that the rug
was given in the year 1992. The next, 01, means that it is
part of the first group of objects accepted by the museum
that year. The last, 01, indicates that it is the first object
within a given group. The next rug in the group would be
assigned the number 92:01:02; the third rug, 92:01:03.
After the object is removed from isolation, work can begin on
its permanent museum record. This is usually started by compiling
a catalog worksheet, which should contain the following information:
Object number. (The number should be written on the object.)
Classification or category. Is it clothing, a tool, a household article, archival material, art, a toy, a weapon? (Refer to Robert G.
Chenall's Nomenclature for Classifying Man-Made Objects.)
Date received. When was the object received or purchased?
Date of legal transfer and name of donor. Who gave it? When
was the deed of gift signed?
Origin and age. Where did it come from? Who used it? How old
is it?
Description. Detailed description of the color, shape, design, material, function, medium, and what is known about the artist or
maker.
Dimensions. Detailed measurements of the object in centimetersits length, width, and height or diameter and circumference, as appropriate.
Condition. Its overall state. Establish a guide for determining different stages of deterioration and be consistent in the descriptions.
Storage location. The location of the object.
Exhibition history. A record of when, where, and how long was
the object exhibited.
Comments. Any additional observations about the object.
References. List references to publications concerning the object
or like objects.
After the worksheet has been completed, the information should
be entered on a 4 X 6-inch catalog card. The card should be typed
in triplicate (for smaller museums), with one card filed numerically
by object number, one by subject (category), and a third (called the
curator's card) in a safe location, off the premises, such as a bank
vault. If a computer system is in place, information from the catalog worksheet can be entered into the program.
A 4 X 6-inch source card for donations, purchases, and exchanges should also be kept. Used to determine previous acquisitions from an individual or organization, the source card contains
the name, address, and telephone number of the source, accession
number or numbers, and is filed alphabetically by the last name of
the source. Additional objects from the same source are recorded
on the original card. If the museum is computerized and the program has a constituent function, donor information can be entered
directly into this file.
MARKING NUMBERS ON OBJECTS
Inscribing numbers on museum objects legibly and with permanent ink ensures that they can be identified and matched with their
specific documentation. In the past, numbers often were affixed to
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objects with adhesive tape or sticky labels, or written directly on the
object with nonpermanent inks. But with time, numbers rubbed or
peeled off, leaving only questions about an object's identity.
The most common method of marking objects today is with india ink, using a crowquill pen. Crowquills, which are well suited for
writing on a variety of surfaces, can be purchased at any stationery
or art-supply store. Several types of india ink are recommended by
museum conservators as safe and noncorrosive. The preferred
brands are Rotring 17 Black, Hunt Speedball Super Black India,
Pelikan 17 Black or 50 Special Black, and Higgins T-100.7
When marking an artifact, locate the smoothest part of its surface, making sure to avoid areas that may wear due to contact. (For
example, a number on the flat bottom of a vase may wear away
eventually due to continual abrasion from setting it down.) Then
place a coat of clear nail polish on the spot where the number is to
be written and write the accession number small enough that it will
not to be unsightly but large enough to read; then seal with another coat of clear nail polish. The number will remain permanently. When it is no longer needed, however, the base coat, along
with the number, can be removed with an acetone solution.
When marking a dark-colored artifact, first coat a small area
with white acrylic paint to create a light background so that the
number can be seen easily. After the paint has dried, write the
catalog numbers and cover with clear nail polish.
When marking clothing and textiles, do not write directly on
the fabric. Instead, use a 1-inch strip of tightly woven, 100 percent
cotton twill tape marked with a permanent black ink pen and sew
it onto the garment. (For standards for marking locations, see Dudley and Wilkenson's Museum Registration Methods.)
Objects too miniscule to mark should be tagged with an acidfree paper label and stored in a box or an inert (safe, because the
materials do not react with their surrounding) plastic bag with a
strong closure so they will not be lost. Write accession numbers
directly on top of the boxes. If an object is too fragile for a tag,
attach the tag to the bag instead.
PHOTOGRAPHING THE COLLECTION
It is essential that the museum commit a part of its budget to photographing its collection. The benefits far outweigh the relatively
inexpensive costs of creating such an important visual record.
Black-and-white prints are preferred because they last longer

than color prints and will not fade, causing image distortion. When
preparing objects to be photographed, it is important to include
the accession number in the shot. The number can be written with
a black marker on a folded index card, or plastic numbers (available at stationery or book stores) can be placed next to the artifact.
A metric ruler, too, should be placed near the object to indicate
scale.
A contact sheet of images and a 3 X 5-inch print of each should
be obtained. The small contact sheet images can be pasted on the
corresponding catalog cards, providing a useful guide for locating
the object in storage. The standard prints can be placed in the
accession file as a permanent record. Negatives are filed in archival
negative sleeves held in a three-ring binder and organized numerically by accession number.
The object that has now been documented, isolated, described,
measured, marked, and photographed may be placed in protective
storage or on display.
After an object is cataloged, how can it be retrieved? Often museums keep a location file with index cards containing the accession number and the object's location in storage. When the location
is changed, pencil in the new location and date.
Some museums use a shorter method of marking object locations. Location codes are written in pencil in the right corner of
the catalog cards filed by accession number. When the object's location is changed, the catalog card can easily be erased and the new
one penciled in. If the museum has computerized records the location code can be managed by the system.
Computerization of Museum Collections

Needs Assessment
With the increasing affordability of computer hardware and software, electronic filing of collection records is a realistic tool for curators who are bogged down with outdated manual record-keeping.
Before diving into the sometimes confusing world of computers,
however, the staff needs to decide what role a computer system
should play in its museum's functions. The staff should conduct a
needs assessment, which is made up of a number of tasks.
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Examine the manual system in place and understand its limitations.

Define the basic needs of the museum: Will the museum want a
full collections management system offering many functions or a
simple and less costly data retrieval system?
Determine whether other departments, such as membership and
accounting are to be on the same system. Would separate systems
be more appropriate? Should the museum start with a small project, at first computerizing one area only? The choices made have
long-term effects. Have discussions with the staff in order to understand everyone's expectations.
Decide who will oversee the technical functioning of the system.
This person has an integral role and must be able to converse
with the computer professional.
Find out the length of time required to install the system and put
it on-line.
Estimate the extent of the system needed. Will the museum use
a personal computer with an existing software such as Data Base
IV or install a museum-based system such as ARGUS or REGIS?
Should a system programmer be hired to design a custom system?
Explore the systems similar museums are using; they may be able
to offer insights into problems and successes.
Get cost estimates and, after careful examination, decide if the
project is worth undertaking.
Obtaining Information
Many publications relate directly to computer use in museums. They
are listed in the catalogs provided by the American Association for
State and Local History and the American Association of Museums. Workshops and conferences on museum computerization
are offered frequently at regional museum conferences and state
museum association workshops. Help is also available from vendors. They will send printed information about their systems or
will visit, offer demonstrations, and give estimates on systems that
they believe are most likely to fit the museum's needs. Be careful
to protect your museum, however; investigate each computer system and its vendor carefully. Make sure that the vendor provides
long-term technical support for the computer system. Have key staff
observe software demonstrations and, if the software seems viable,

review it again.
Realistic Expectations
The process of choosing a computer system is time consuming and
painstaking. By understanding the steps required to get the system
up and running, the staff will have realistic expectations about how
long and the amount of energy that job will take.
NOTES
1. Marie C. Malaro, "Collections Management Policies," Museum News
58, no. 2 (1979): 59.
2. Quoted from the American Swedish Institute's Museum Collection
Policy.
3. Allan D. Ullberg and Robert C. Lind, "Personal Collecting: Proceed
with Caution," Museum News 69, no. 5 (1990): 33.
4. G. Ellis Burcaw, Introduction to Museum Work, 2d ed. (Nashville: Tenn.:
American Association for State and Local History, 1983), p. 50.
5. American Association of Museums, Museums for a New Century
(Washington, D.C.: American Association of Museums, 1984), p. 46.
6. Stephen L. Williams and Catharine A. Hawks, "Inks for Documentation in Vertebrate Research Collections," Curator 29, no. 2 (1986): 93
108.
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5
Storage and Preservation
of the Museum's Collections
Collections maintenance, collections management and conservation are among the most demanding functions for all museums; they are also the least visible to those outside the museum.
American Association of Museums, Caring for Collections
CURATORS OF HISTORIC houses often find themselves with more objects than places to store them, and finding storage space is one of
their most challenging responsibilities. It is important to use existing areas in the most efficient and economical manner possible,
while applying proper museum storage techniques. The main criteria for storage areas are that they must be clean, well organized,
safe from pests and thieves, and provide a stable environment.
Although the safety of objects is paramount, they must also be
stored so that they are easily accessible. Collections often are retrieved for examination, inventory, research, condition assessment,
and preparation for exhibition. When objects cannot be reached or
even seen, they will probably be neglected and could deteriorate.
Access should not be too easy, though. It is not uncommon to
find the collections used improperly because they are open to virtually anyone in need of an object for a museum function: ceramic
vases are used to hold flower arrangements, antique silver tea services for serving guests, period chairs for seating at events.
Safe Storage Techniques

In historic houses, it is often necessary to use less than ideal areas
for storage. After all, the structure was constructed for a family's
Storage and Preservation of the Museum's Collections
use, not to house a museum. It is necessary, therefore, to be resourceful, to rely on one's own imagination and creativity. Ingenious methods for storing collections can be found in the most unlikely locations. When considering storage areas, ask the following
questions:
Are the light levels appropriate? Can the area be darkened for
storage of light-sensitive objects? Can windows be modified by
applying ultraviolet inhibiting film or blocked to screen out all
natural light?
Is the area large enough to hold artifacts safely? Can they be
stored without stacking or overcrowding?
Can the areas with wood surfacesclosets, shelves, or drawers
be modified to prevent wood acids from damaging objects?
Can objects be easily found and retrieved?
Can the temperature and humidity be controlled in the space,
and can air circulate freely?
Can dehumidifiers and humidifiers be installed and accessed easily? Can relative humidity tests be taken in and around the storage area?
Is the area protected against fire? Are there smoke detectors and
heat sensor devices?
Can the area be monitored and cleaned frequently?
Have all chemicalssuch as alcohol, acetone, household cleaners
been removed from the storage area?
Can the area be locked? Can it be restricted from those who are
not trained in handling objects?
Storage Equipment
Museums usually store objects on open shelving units, in closeddoor cabinets, in flat storage (such as drawers), and in acid-free
boxes and bags of various sizes and shapes. Single-layer textiles are
commonly rolled on tubes that are suspended from the ceiling.
Paintings are often placed in padded slots or hung on panels.
Clothing is padded with acid-free paper and hung on padded
hangers or, if particularly delicate, stored in flat boxes.
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METAL STORAGE UNITS
Museums often use open metal shelves (aluminum or steel coated

with a baked enamel paint) to hold objects. If properly constructed,
they are lighter and stronger than wood shelving and do not pose
a fire hazard. However, if metal shelves are used in an unconditioned environment, they may corrode, subsequently damaging objects. In the past such shelving was thought to be harmless, but
recently it has been found that aluminum, if not anodized, will emit
damaging peroxides as it oxidizes. Metal shelves must be made either
of enameled steel or of anodized aluminum.
Metal units should bear only the amount of weight for which
they are designed. An overloaded unit, one that bends or sways
from its load, is dangerous both to the staff and the objects. The
bottom shelf should be elevated several inches above the floor, should
water enter the area. Cover sharp edges or protruding bolts or
screws that could damage an object being put in or taken out of
the unit. Place paddingpolyethylene liners, unbleached muslin,
or heavy acid-free paperon the shelves as support for the objects.
Larger museums may have the funds and space for closed-door
steel cabinets. These cases are quite versatile, with adjusting drawers and shelves, and they keep out insects, rodents, light, and dirt.
Acid-free cardboard trays frequently are used in the cabinet drawers to hold smaller objects and to prevent them from rolling around
and striking one another.
WOOD STORAGE UNITS
Wood is the least desirable material for storage of artifacts; however, because it is inexpensive, readily available and can be easily
constructed into storage units, it is commonly used in historic house
museums. Historic houses often come equipped with antique, builtin wooden drawers and bookcasesin bedrooms, dressing areas,
kitchens, pantries, and workrooms. A word of warning about using
new wood: it will release acids, as well as alcohols, and if organic
materials such as textiles and clothing come in contact with new
wood, the fibers may weaken, discolor, or become brittle. The rate
at which acids are released depends on the type of wood, how it
was seasoned, and how much moisture it contains. (Hardwoods
contain more free acids than softwoods such as pine or even highgrade plywood.) Antique wooden drawers and bookcases will also
emit acidsespecially where temperatures are high and relative
humidity is above 80 percenteven if the wood has had years to

"off-gas." Another drawback to using wood for storage is that it
poses a fire hazard.
Using New Wood for Storage If wood must be used for constructing
storage units, it is important to use a high-grade exterior plywood.
Exterior plywood is safer than the interior grades because the thin
wood sheets of which it is made are bonded with phenolformaldehydea resin that remains stable as it ages. Interior plywood, on the other hand, is often made with the unstable adhesive
urea-formaldehyde, dangerous because it breaks down easily, emitting formaldehyde. Exterior plywood also releases fewer acids than
most hardwoods. 1
Treating Wood Storage Units Wood must be treated to be made relatively safe for holding artifacts. Museum conservators recommend
several methods for treating raw or antique woods.
Cover raw or antique woods with a laminated film. This film is
waterproof and vapor proof and consists of three layers: one of
polyethylene, one of aluminum, and one of polypropylene. It is
an effective barrier used on wooden shelves, in drawers, and on
wooden rods for storing textiles and costumes. The film comes in
rolls and is easy to work with; it can be cut to size and heat welded
with a hot-air gun. After the film has been applied to the entire
surface (both sides and edges) of the raw wood, a layer of unbleached, washed muslin should be placed over it for softness.
(The specifications of the film are MIL-B-131H, Type 1, Class
1. It is available through Bell Fibre Products Corporation, Columbus, Georgia.)
Coat the wood with a non-oil modified urethane or latex urethane acrylic such as Benjamin Moore's product #416 (either is
acceptable). After the surfaces have been coated, they should be
lined with aluminum sheets or heavy aluminum foil to serve as a
barrier against acids that damage objects. As added protection,
cover the shelves with cotton muslin, especially when storing sensitive organic materials.2
Line raw wood shelving with a calcium-carbonate matte board
(obtainable through any conservation supply company), or coat it
with paint containing calcium carbonate, mica, or aluminum flakes.3
Calcium carbonate acts as a buffer against acid migration and will
absorb acid gases.4 Mica or aluminum flakes also provide effec-
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tive barriers against wood acids.5 These paints can be purchased

in any paint stores.
SAFE STORAGE CONTAINERS AND MATERIALS
A great deal of effort goes into preparing museum objects for storage. Costumes and accessories are stuffed with tissue paper to fill
out creases, textiles are padded at the folds, and documents are
boxed. But safe materials must be used; ordinary papers, boxes
and cardboard cartons contain dangerously high levels of acids and
lignin, a substance that occurs naturally in woods and will hasten
deterioration of organic materials. Objects stored in them or around
them become damaged by the "burning" effects of the chemicals.
Fortunately, safe supplies are available.
Acid-free, lignin-free paper can be used in many waysfor
padding costumes, wrapping organic materials, stuffing leather and
hide, interleaving documents, and covering cardboard tubes to
prevent acid migration when rolling textiles. Acid-free paper comes
in various thicknesses, from thin tissue to heavy sheets and even
corrugated cardboard. Interleaving paper is lightweight and can
safely be used to protect surfaces of prints, documents, manuscripts, and works of art on paper from grit, dust, and abrasion.
Acid-free paper may be purchased through the major conservation
companies.
Acid-free, lignin-free containers, boxes, and trays are used by
museums to store a wide variety of artifacts, from documents and
photographs to costumes and textiles. Archival-quality boxes protect objects from acids, dust, dirt, fingerprints, abrasion, and chemical deterioration. Boxes come in many shapes and sizes and are
readily available through most conservation supply companies.
Protective boxes or papers and packing materials must be lignin
free, as well as acid free. Lignin, which occurs naturally in wood,
will hasten deterioration of organic materials, such as paper, by
exuding acids and peroxides.
Storage boxes are essential conservation supplies, but they tend
to be expensive, especially for small museums with limited budgets.
Instead of buying them, curators can reduce costs by making boxes
by hand, using acid- and lignin-free boxboard and linen tape. Both
products are available through conservation companies. Boxboard
can be cut to the appropriate size and assembled into any shape
with linen tape. To construct smaller, more flexible boxes, a lightweight board or heavy paper can be used and folded to the desired
Custom-made costume and textile storage solves problems of overcrowding. With ingenuity and creativity, safe storage can be obtained at a relatively low cost. Shown
here is the textile storage room at Shadows-on-the-Teche, New Iberia, Louisiana.
(Photograph courtesy of the National Trust for Historic Preservation)
shape. Lids for the boxes can be made using the same folding process.
Polyethylene storage bags are indispensable for storing collections. Polyethylene is a safe, inert material and is strong, durable,
and transparent. Bags can be purchased through conservation supply companies or scientific product suppliers in a variety of sizes.
Some include a zipper-locking seam for easy closure and have a
white patch on the bag for labeling contents. A good standard weight
for museum objects is a 4-millimeter thickness. Bags purchased from
grocery or hardware stores are not suitable. They are made from
or are coated with materials that are unsuitable for museum storage.
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Polyethylene foam is an inert plastic that can be purchased in

different densities and thicknesses, in sheets or rolls, from local
packaging and shipping companies. It is especially useful for lining
exhibit and storage cases and drawers because it prevents objects
from rolling around and striking each other. It can also be used as
padding between artifacts and for wrapping materials for transport. As a background for detection of insect frass, which may indicate a live infestation, it serves an extra purpose.
Archival polyester (Mylar) is a safe, transparent, flexible plastic
frequently used in museum storage to encapsulate documents,
photographs, maps, newspapers, postcards, or other flat objects. It
is also commonly used to cover rolled textiles and artifacts in open
storage, or as a lining in antique wooden drawers. Polyester can be
purchased in sheets or rolls through archival- and art-supply companies.
Unbleached, undyed cotton muslin that has been washed to
eliminate all sizing is a safe and inexpensive protective covering for
objects. It can be made into bags for storing artifacts, covers for
padded hangers, or liners for shelves, drawers, and cardboard tubes
to help protect artifacts from harmful acids. The cloth should be
washed periodically, however, to remove the acids that eventually
will migrate through its fibers.
UNSAFE STORAGE CONTAINERS AND MATERIALS
Many materials are unsafe for use with museum collections. If you
are uncertain about a material do not use it until it has been tested
by a conservator. Sticky substancessuch as wax, silicone rubber
adhesives, and tapeshould never be used. The adhesive on all
types of tape, including masking tape and transparent tape, is dangerous, and attempts to remove it can scar and damage objects.
Other common items that should not be used are staples, safety
and straight pins, nails, tacks, and screws. They can rust or corrode
and stain objects. Even rustproof staples, pins, or nails can break
textile fibers or mar the surface of other materials such as wood,
ivory, or bone.
Caring for and Storing Museum Materials

When storing museum collections, it is common to separate them
into categories according to the materials from which they are made.
Often there is a storage area for glass and ceramics, one for wooden
objects, one for tools and larger artifacts, one for textiles and clothing, and specialized spaces for paintings, prints, and sculpture. Some
museums store all their collections in one area, such as the basement, carriage house, or attic. Others use closets and drawers, or
smaller rooms that once served as servants' quarters, or upper-story
bedrooms.
Regardless of where storage areas are located, it is imperative
that each category of artifact receive special consideration with regard to its condition and composition.
Glass and Ceramics
Glass and ceramic materials are fragile and need special care in
storage. Open shelving, either metal or wood, can be used, preferably with a lip or rim along the edges for safety. Shelves can be
lined with felt (felt should be used only with glass) or with polyethylene foam, forming a soft foundation. A padded surface will prevent abrasion of etched glass surfaces that may contain information
about the maker. (Never slide glass across any surface.) Also, any
chips or fragments that may break loose from the glass and ceramic artifacts can be found easily and removed from a felt or foam
surface. Labels with catalog numbers placed on the edges of the
shelves will allow the effortless location and retrieval of artifacts
without unnecessary handling.
Drawers lined with polyethylene foam can also be used to store
glassware. Place a 1/2-inch layer of foam on the bottom of the drawer;
on top of this place another layer of foam with cut-out shapes of
the objects to be stored; they can then be nested into these shapes,
preventing jarring and breakage when the drawer is opened.6 Label the outside of the drawers with the contents to avoid having to
open the drawers unnecessarily.
Ceramics should not be stacked. If this is unavoidable, however,
use layers of polyethylene foam between each piece to avoid contact.
Most glass is stable and can tolerate higher relative humidities
than organic materials. However, some glass (especially that which
has been improperly made) is susceptible to moisture and will soak
it up, a condition known as crizzling. Crizzling can leave a fine
surface network of crazing (a surface of minute cracks) on the glass
vessel. Such glass should be stored in areas with a relative humidity
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of about 40 to 50 percent. Use silica gel as a desiccant to control

excessive humidity in these areas. Silica gel can be purchased from
any conservation supply company.
It may be necessary to clean glass and ceramic objects before
placing them in storage. Two plastic tubs should be used for washing: one with clear water, and the other with a solution of water
and a small amount of mild soap. (Orvus, a conservation product,
or Lux liquid or Woolite are good, gentle soaps.) Wash objects gently
in the soapy mixture and rinse them in the clear water tub. Dry
the objects thoroughly with a clean, dry cloth before placing them
in storage. Careful drying will deter surface deterioration and pitting. (To prevent condensation inside bottles and decanters store
them with their stoppers and tops off.) 7 Do not immerse in water
any low-fired or painted ceramics. Glass or ceramic objects that have
been repaired should not be submerged in water; they may come
apart. Such objects should be dusted with a soft dry or slightly damp
cloth to attract surface dust.
If a glass container is heavily soiled, place soap-saturated cotton
balls inside the vessel and gently agitate it until the stain has been
removed. Rinse and dry the vessel completely before placing it on
the shelf. Sturdy vessels that are extremely soiled can be cleaned
by soaking them overnight in a solution of soap, water softener
(such as Calgon), and water. Some conservators recommend inserting a handful of uncooked rice in the vessel and gently swirling it
around after this procedure.8 This should help to eliminate any
remaining soil or deposits.
When carrying glass objects to storage, be sure to place them in
an adequately padded carrying box. Place padding between fragile
pieces in the box as well. When removing an object, never place
stress on protruding partspicking up a teapot spout, for example, or handle. Cotton gloves with polypropolene grips are helpful when handling glass or ceramics. These can be found at hardware or garden stores.
Costumes and Textiles

Many historic house museums own collections of period costumes
and textiles. The typical items represented may have belonged to
the original owners or have been collected from different periods.
Whatever the period, however, it is likely that many of the gar-
Even closets and cramped spaces can be converted to usable storage areas. Here,
banks of cabinets have been inexpensively constructed with the help of experienced
volunteers. Note that shelves have been lined with soft felt to prevent glass from
abrading, that they have a lip in front, and that they are labeled with each object's
accession number to provide for easy access and to prevent the needless handling of
these fragile objects. (Photograph courtesy of the American Swedish Institute)
ments and textiles have deteriorated seriously, weakened by age,

neglect, or improper care.
General Concerns
Most costumes and textiles are very fragile and, if possible, should
be stored separately in a cool area with temperatures below 70 degrees Fahrenheit and a relative humidity between 45 and 55 percent. Too much moisture in the air will cause the growth of mold
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Open dust covers can be easily made with the help of volunteers. (A) 5-centimeter
seam; (B) 2.5-centimeter opening for hook of hanger. (Reproduced with permission of
the Canadian Conservation Institute)
and mildew; too little will desiccate the fibers. Humidity control
may be difficult or impossible for museums having no environmental controls. Portable humidifiers or dehumidifiers will aid in a
problematic environment.
Storage areas should be as dust- and dirt-free as possibleairborne particles can damage fibers and the structure of fabrics. It
may be necessary to filter the incoming air in the museum to achieve
this. Prudent housekeeping will also greatly increase the life of fabrics. Drape textiles with washed muslin, polyethylene plastic or a
polyester, such as Mylar, and use protective dust covers for individual costumes.
Pests are the enemies of the more vulnerable textiles, such as
wool and the fur and feathers that often embellish costumes. Given
the opportunity, rodents will nest in any fabric, and insects will
thrive on wools, fur, and hides. Frequent monitoring of storage
areas and isolation of objects before they are integrated into the
collection are essential.
When working with garments, the staff should wear white cotton gloves to prevent soiling from natural oils in the skin. Pencils
are the only writing implements that should be used around fab-

rics. Marks from pens and markers usually cannot be removed.
Always keep sharp objects such as scissors and needles in a box or
basket well away from fabrics.
Costumes
PREPARATION FOR STORAGE
Before costumes are placed in storage, they must be scrutinized

and carefully prepared. All pins and remnants of glue-on labels or
tape must be removed from the garments. Pins, if not carefully
Closed dust covers can protect garments from soiling. (A) 5-centimeter seam; (B) 2.5centimeter opening for hook of hanger. (Reproduced with permission of the Canadian
Conservation Institute)
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Bare wood and wire hangers are not safe for holding costumes. Wood hangers must
be padded and covered with muslin before they can be safely used. (A) Polyester or
cotton quilt batting; (B) cotton muslin cover. (Reproduced with permission of the, Canadian Conservation Institute)
placed between threads, can cut the fabric, and pins that are not
rustproof can leave irreversible stains. Adhesives from tapes can
leave a sticky residue that scars a garment and breaks fibers when
it is removed.
If clothing is soiled, try to remove the surface dirt to prevent
further deterioration. This can be done by using a hand vacuum
with slow-action suction. A screen placed over the mouth of the
vacuum will prevent loose fibers from being sucked into the instrument. Do not apply the vacuum brush directly to the costume or
fabric and do not apply pressure.
Wet cleaning a costume is controversial and should only be done
by a conservator or under instructions of a trained professional.
Never wash garments in a washing machine! Even on a gentle cycle, costumes can be damaged by the agitation of a machine. Dry
cleaning should be avoided as well; the chemicals used in the process may damage fragile costumes or leave a residue that will deteriorate fibers.
A basic technique used by many museums in preparing costumes for storage is to pad them to help remove stress and strain
from seams. Crumpled acid-free tissue paper placed into sleeves,

shoulder seams, and folds will assist in evenly distributing weight
while the costumes hang in storage or rest in boxes or drawers.
After garments have been adequately padded they should be placed
on specially prepared padded hangers, not bare or varnished wood,
wire or plastic hangers. Wood hangers contain harmful acids that
will migrate into the fabric. Wire or plastic hangers are not strong
enough to hold garments properly; consequently, too much stress
is placed on the shoulder seams. Also, wire hangers might rust.
Padded hangers are easy to make. Place padding (fiberfill or
cotton or polyester batting) over the frame, cushioning sharp edges.
Add extra padding in the shoulder area for additional support.
Patterns can be made and followed for each type of hanger. Al-
For additional support, tapes can be attached to the waistband of a garment and
placed around the hook of the hanger. (Reproduced with permission of the Canadian
Conservation Institute)
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though making the hangers is simple, the task is labor intensive.

Volunteers might be a good source of labor to assist with the project, perhaps a local weavers' guild or sewing club.
Dust covers can be made easily from unbleached, washed allcotton muslin stitched on three sides, leaving the bottom open to
pull down over the garment and a slit in the top for the hanger.
In an other version, the top, bottom, and one side seam are sewed,
the other is left open. Tapes sewn to each side of the open seam
permit the bag to be tied closed. Plastic dry-cleaning bags should
never be used for covering garments. Proper storage requires air
to circulate around garments, and plastic bags will not allow for
this essential airflow.
Because of space limitations, garments must often be prepared
for storage and exhibition in the same area in which they are stored.
A large padded table is essential. Place fiberfill or polyester or cotton batting on the table top and finish it by stretching cotton muslin over the top, securing it to the underside. The edges must also
be padded and covered to prevent snags.
STORING ACCESSORIES
Store costume accessories such as hats, gloves, beaded bags, and

lunettes in padded and muslin-lined drawers or acid-free, ligninfree boxes. Drawers and boxes should be labeled on the outside to
facilitate retrieval and prevent unnecessary handling.
Larger costume accessories, such as scarves and shawls, should
be rolled on cardboard tubes covered either with acid-free, ligninfree paper or polyester (Mylar).
Canes and parasols can be kept in a vertical, circular stand with
individual holes for each or placed horizontally on a pegboard with
plastic-covered hooks. Each artifact should be tagged with its accession number and any pertinent information on an acid-free, ligninfree paper tag.
Textiles and Floor Coverings

Textiles are ubiquitous in historic house collections. Fine linens were
carefully stored and saved, often in trunks kept in unused areas of
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the house. Everyday textilessuch as bed coverlets, quilts, draperies, and woven floor coveringswere also saved. Today in many
historic houses, such antique fabrics are still in place. Whether in
storage or on display, all historic fabrics must be treated with special care.
GENERAL CARE
Historic fabrics should be handled as little as possible. If it is necessary to handle them, it should be done carefully to prevent stress
on the fibers and breakage. The effects can be disastrous when
untrained staff handle fragile textiles carelessly. Fabrics with severe
dry rot may literally fall apart in one's hands.
Walking on historic rugs should be avoided. Direct all traffic to
special runners placed over the rugs. These "museum" runners can
be specially woven with an uncut loop wool pile with a cotton binding to prevent raveling. No backing should be applied. The runner
should be at least 40 inches wide to accommodate wheelchairs and
strollers. The Henry Francis du Pont Wintherthur Museum has
tested the museum runners for more than a decade and has found
them satisfactory in reducing abrasion caused by foot traffic. Special orders for runners can be placed at area carpet-weaving mills.
It is recommended that the museum staff who must walk on the
rugs from time to time wear low-heeled shoes or even just cotton
socks, which will not catch or tear fibers.
Special care must also be taken with historic draperies. If shades
cover the windows, pull them down gently; a forceful pull will abrade
the sides of the draperies. Apply the same rules to antique bedcovers and all other historic textiles; handle them with care and protect them from light, dust, and fluctuating humidity.
PREPARATION FOR STORAGE
The first step in preparing textiles for storage is assessing and recording their condition. If they are soiled, they should be carefully
vacuumed.
Since textiles are especially vulnerable to light degradation, it is
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essential to store them in a dark environment. Improper light levels will cause fading and fiber breakdown.
Textiles are hygroscopic and will acclimatize to a wetter or drier
environment. Ideally, however, they should be kept in a cool areas
with temperatures below 70F and a relative humidity between 45
and 55 percent. In historic houses where it is not possible to maintain the desired level of humidity, it is important to try to maintain
a constant relative humidity.
Giving textiles adequate support is a paramount goal when storing, exhibiting, or handling them. Do not place undue stress on
fibers by allowing them to carry too much of an object's weight.
When moving a textile, be sure not to pull or stretch it, and use
acid-free ragboard or textile boxes to support the weight.
To increase the life of textiles, they should be stored unfolded.
When cloth is folded, especially aged and fragile cloth, the fibers
tend to break along the crease line. If folding is necessary, fold
along seams or in the stronger areas of the fabric and do not fold
along previous fold lines. Using acid-free, lignin-free paper, pad
out the fold lines to prevent sharp creases. Check the textiles periodically and refold them along different lines.
If space allows, small textiles should be stored flat, in drawers
or on shelves. If possible, they should not be stacked. The weight
of layers might crush those on the bottom or cause creases and
fiber breakage. Make certain the fabrics do not touch wooden surfaces, and place acid-free, lignin-free paper underneath and on top
of the stored items to protect them from dust.
Storing textiles in drawers with an inserted bracket with cut grooves. Grooves hold
the wooden dowel, allowing the textiles to hang in suspension. (Reproduced with permission of the Canadian Conservation Institute)
Rolling Textiles for Storage It is often impractical to store large textiles flat. An acceptable alternative is to roll the fabric, single-layer,
on a cardboard tube covered with acid-free, lignin-free paper or
polyester. The tube is hung on hooks and chains that are suspended from a ceiling or placed in a custom-made rack. Multilayer
textiles such as quilts, however, must be folded with acid-free, ligninfree tissue paper, padding each fold to remove stress from the folded
fibers and stored in an acid-free, lignin-free box. (Quilts must be
refolded periodically, too.)
Acid-free tubes can be purchased from conservation suppliers
around the country but often are too expensive for smaller museums. Rollers that are not acid free can be procured at little or no
cost at all and, when prepared properly, are suitable for rolling textiles. Mailing tubes, fabric rolls, carpet and linoleum rollers,
even paper towel tubes can be altered as follows to hold textiles
safely.
1. Select a tube with an appropriate diameter for the
textile to be rolled. Too small a diameter can place stress on
the fabric by crushing its interior. The aim is to bend the
fabric gently, placing a minimum of strain on the structure
of the weave and the threads.9 In order to enlarge the tube's
diameter, it is acceptable to cover it with plastic bubble cushioning materials (bubble wrap). 10
2. Cut the tube to fit the textile, allowing about an inch
on either side, and cover it with polyethylene sheeting or
polyester (Mylar). Tuck in the excess on either end, and roll
the tube in unbuffered (having no added buffer such as calcium carbonate), acid-free, lignin-free tissue paper, or in
washed cotton muslin. Tuck in these ends as well.
3. Lay the fabric flat on a table, removing all creases by
smoothing them out with a cotton-gloved hand. Use another
piece of acid-free tissue paper as interleaving for added protection. Roll the fabric with the right side inward, keeping
the warp perpendicular to the tube. Do not strain the object
by pulling on it or applying uneven tension while rolling.
Pile carpets or embroidered pieces should be rolled with the
right side out. Roll only one textile per tube.
4. After the roll is complete, cover it with clear polyethylene plastic to protect it from dust. Do not tuck this layer
into the tube ends; closing it prevents air from circulating
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around the fabric. Secure the plastic by tying loosely with

strips of cotton muslin or with white cotton tapes.
5. Attach an acid-free, lignin-free paper tag to the tie
with the textile's object number and brief description of the
object.
6. Insert a wooden dowel or metal rod in the tube and
suspend it from hooks. Do not store the tube flat, the weight
of the textile presses down on itself, placing strain on the
fabric. 11
Cupboards and small closets can be modified for textile storage by inserting a bracket
system. (A) Mylar covering cardboard tubes; (B) acid-free tissue over Mylar;
(C) interleaving of neutral pH tissue; (D) textile with pile on outside; (E) unbleached
cotton muslin cover; (F) cotton tape; (G) identification tag. (Reproduced with permission of the Canadian Conservation Institute)
Storing Rolled Textiles There are a number of methods for storing

rolled textiles; the type that you choose will depend on the size of
your storage areas and the size and number of the rolled pieces in
your collection. For smaller collections it may be more efficient to
use a bracket storage system set into a cupboard or drawers. Brackets are simply boards with a rounded notch to hold the rod. To
retrieve the tube the rod is merely lifted out of the notch.
Another method of suspending textiles on rods is to hang them
on chains affixed to a ceiling track. Tubes holding the textiles can
be slipped over large wooden rods or steel poles. This technique
works well with large rugs and heavy textiles, but may also be used
for smaller textiles with several cardboard tubes placed adjacent to
Suspended storage can be made with materials found at a local building supply store.
(A) Mylar covering cardboard tube; (B) acid-free tissue over Mylar; (C) interleaving
of neutral pH tissue; (D) textile with pile on outside; (E) unbleached cotton muslin
cover; (F) cotton tape; (G) identification tag. (Reproduced with permission of the Canadian Conservation Institute)
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each other on each rod. Suggestions for constructing and using this
system:
1. Make certain the ceiling can sustain the weight of the
system, especially if you plan to hang heavy rugs.
2. Garage-door tracks are inexpensive and can be installed easily. Install the two tracks on the ceiling, each running parallel and spaced as far apart as required (usually 8
or 12 feet apart). This distance corresponds to the standard
size of wood closet rods or steel tubes.
3. Insert steel trolleys (part of the garage-door system)
in the tracks and attach steel chains to them. (Chains can be
found at hardware stores or builder's supply companies.)
4. Attach large S-hooks or U-bolts with wing nuts to the
chains at various heights.
5. Place the rolled textile on the hooks or through
U-bolts.
To retrieve a rolled textile, remove one side of the rod from the
hook or bolt and slip the tube off.
Archival Materials
Even if a museum has no formal library or archives, it probably
has some historic letters, personal notes, house blueprints, photographs, postcards, journals, or other archival material. Since much
of our information about historic houses and the families that lived
in them is drawn from such documents and photographs, it is essential to preserve them with great care.
The first step in preserving documents is to assess them for
their importance and relevance to the museum's collection. Documents that are not pertinent should be given to the state historical
society or a county society where they can be better used by the
public. Those that remain will need special stabilizing treatments
and customized storage. Some will require the skills of a paper conservator, but there are specific treatments that the staff can perform to arrest the decay and deterioration that is a natural part of
the aging of paper.
Acids are inherent in most papers and play a major role in their
destruction. The amount of acidity depends on the way the manufacturing process and composition of the paper. For example,
newspaper, meant to be short-lived, is made from an extremely
acidic low-quality wood-pulp core and is self-destructive. However,
most paper can be deacidified by using aqueous (wet) or nonaqueous (nonwetting) conservation techniques. A trained archivist must
be consulted before deacidification is attempted.
Commonly, papers are stored in, or come in contact with, other
acidic materials. Brown craft envelopes (often used for storing negatives), white commercial envelopes, manila folders, and often the
mount and matte board used to store papers and photographs are
highly acidic and damaging to paper. Documents and photographs
should be removed from their mounts, however, only if they are
loose and easily removed; efforts at removal may actually destroy
the object itself because with the passage of time a mount can actually meld onto a photograph or document.
Like other organic materials, documents and photographs must
be kept in dark areas and not exposed to ultraviolet light for extended periods. Like fabrics, paper will yellow and become brittle
with age, and inks will fade from prolonged exposure to light. By
following the environmental standards set for costume and textile
care (relative humidity levels of 45 to 55 percent and temperatures
at below 70F) and by filtering the air in archival storage areas, the
rate of decay will greatly decrease.
Documents should be stored flat and, if possible, not folded.
Photographs must never be folded because folding creates permanent cracks.
When working with documents, wear white cotton gloves or, if
gloves are not used, wash hands that come in contact with paper
items to prevent oils and grime from soiling documents. Do not
use pressure-sensitive tapes, commercial glues, pastes, or rubber
cement. These substances contain acids and will stain paper and
hasten its deterioration. Never fasten papers or photographs with
metal paper clips, staples, or pins; they will perforate and stain
paper. If mending is necessary, it is acceptable to use wheat-starch
paste.
To clean paper use Pink Pearl erasers or powdered eraser pads,
such as Opaline and Scum X. These cleaners must be used carefully and only in areas void of inks or designs. Clean surfaces carefully to remove eraser dust. Do not use these cleaners on the surfaces of photographs.
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Documents
Documents being prepared for storage can be protected in a variety of ways from dust and dirt, acidic materials, and deterioration
caused by handling. One procedure, commonly used because of its
simplicity, is encapsulation, in which a document is placed between
sheets of transparent polyester film and sealed inside the film with
a special double-coated tape on three or four sides. Because the
enclosure is transparent, the document can easily be studied. Materials required for this method are easily obtained from conservation supply companies, and the work can be accomplished with
the help of volunteers.
Archival folders and envelopes that are lignin free, buffered
with calcium carbonate, and have a pH of 8.5 come in a variety of
sizes and are appropriate for preserving and storing documents.
Acid-free file boxes can also be used to store documents.
Photographs
For the preservation and storage of photographs, acid- and ligninfree nonbuffered envelopes and boxes should be used. Many museums mat photographs with museum-quality matte board and store
them, between interleaving tissue, in acid-free portfolio boxes.
Photographs can also be encapsulated with polyester film or placed
in polyester sleeves (available at conservation supply companies).
Negatives must be kept in acid- and lignin-free envelopes with
no glue and no abrasive surfaces (to prevent scratching) or in polyethylene envelopes. Never use glassine envelopes, vinyl or PVC (polyvinyl chloride) plastic enclosures, acidic envelopes, or cardboard
boxes. (Many curators find the archival collections in historic house
museums stored in these materials.) Polyethylene sheets with pockets for storing negatives are also acceptable. After the negatives are
enclosed the sheets should be stored in acid-free file boxes.
To prolong the life of framed historic photographs, prevent
them from coming in direct contact with the surface of the glass by
wedging acid-free paper along the edges. Photographs coming in
contact with glass will eventually stick to the surface and be impossible to remove.
At many house museums original photographs of the family
who once lived there often are displayed. This is unfortunate because exposure to light and high temperature and humidity can
destroy the prints. A rule of thumb is to have negatives made from

original photographs. Duplicate prints can be produced from the
copies and the original photographs stored. The process is inexpensive and preserves the original photograph while allowing visitors to enjoy the historic image. 12
Other archival materialssuch as journals, postcards, magazines,
sheet music, and newspaperscan be safely stored in fiat storage
boxes made from acid- and lignin-free board. All items stored together should be interleaved with acid-free paper to prevent acid
from migrating from one document to another.
Paintings and Prints
Paintings and works of art on paper are routinely found in collections of historic houses. Works of art, often the most precious possessions of homeowners, were displayed prominently to show the
wealth of the owners. In large houses, galleries designed for an
owner's entire artistic holdings were not uncommon.
Exhibiting and storing works of art are complicated matters and
require much analysis and planning. While on exhibit, they must
be protected from the impulsive visitor who simply cannot resist
reaching out and straightening a frame that has listed or touching
a particularly moving scene. Paintings and prints must be displayed
only in places where they will not be harmed by light, heat, or
humidity, eaten by insects, or stolen. Curators of house museums
must work to create a safe environment, at the same time trying to
create an authentic "homelike" ambience.
Protecting Paintings and Prints While on Display
To reduce risks, paintings and prints should be displayed in areas
where visitors are not likely to bump into them or scrape them with
their shoulders or bags. Keep stairways and narrow corridors free
of artwork. Place chairs, tables, or stands beneath paintings to reduce the temptation to touch. Another deterrent, if space allows, is
a projecting rail installed beneath the artwork, creating a space between the visitor and the work. (Rails are less conspicuous if they
are placed toward the bottom of the wall.)
Position trained volunteers or professional guards strategically
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around the house, and instruct them to ask guests not to touch or
to take care not to bump against artwork (or other furnishings) in
the house. Guards must be outspoken when protecting the building and its collections; they are an important line of defense in
preventing innocent "touches" from causing serious damage.
Carefully calculate the possible hazards of a location before
hanging a painting or print. Never position one above warm-air
registers or radiators or too close to heat-producing light fixtures,
such as picture lights, spotlights, or incandescent bulbs. Avoid outside walls where temperatures fluctuate, and guard against areas
that are damp or where circulation is poor. These conditions cause
mold to grow on paintings and "foxing" on works on paper. Never
place paintings on a damp wall or one that has just been painted
and has not had time to dry thoroughly. Avoid areas that are too
dry as well. Either extreme is deleterious and can seriously damage
precious works of art. (A desirable temperature for painting and
prints is between 65 and 70F and a relative humidity of 45 to 55
percent.)
Regularly inspect paintings while they are on exhibit or in storage, and document any signs of deterioration or damage. If a work
of art has become unstable (i.e., canvas is buckling or there is loss
of paint), contact a qualified conservator for instruction in handling it. Never attempt repair of paintings or prints; this is best left
in the conservator's trained hands.
Handling Paintings and Prints
Do not touch the front or back of a painting or print with bare
hands; the oils from fingers can cause damage. Instead, use clean
white cotton gloves. If no gloves are available, be certain to wash
hands thoroughly before, and several times during, the process of
handling paintings. (Ornate frames, with irregular surfaces readily
collect dust, and it is transferred to hands.) Do not allow tape, glue,
or any kind of clip, staple, or other fastener to contact prints.
Never carry more than one painting or print at a time. Regardless of size, every painting must be supported by two hands, one
on the bottom and the other along the side. This method more
evenly distributes the stress on the frame and the painting itself. If
carried by one side, the painting can easily pull away from the frame,
or the frame can bend from the pressure. Large paintings should
be carried by at least two people, each supporting each lower cor-
ner and side. Be careful to hold paintings at points where the frame
is strong, not on, for example, fragile gesso decoration.
It is permissible to clean the frames of works of art by dusting
with a soft, clean brush or vacuuming with a soft bristle attachment
and low suction. Move all objects located beneath the artwork before dust removal begins to avoid transferring the dust to an object
that may be even more difficult to clean. While working, make certain never to touch the frame or painting with the hard edges or
handle of the brush. Vacuum any dust that has resettled onto the
floor below.
When removing paintings from storage or when moving them
from place to place, never rest them on hard surfaces. Place them
on padded blocks, packing blankets, carpet scraps, or foam pads.
Vibrations caused by mishandling can result in paint loss and
cracking.
Storage Conditions
Never store unframed and framed paintings or prints together.
Unframed works are susceptible to abrasions, scratches, perforations and loosened paint caused by vibrations. Protect artworks by
wrapping them in a covering of acid-free, lignin-free paper and
rigid cardboard (acid-free cardboard is preferred).
When storing paintings and prints, remove screw eyes and
hanging wire to prevent damaging surfaces and frames.
Always use corrugated cardboard dividers between paintings (if
the cardboard touches the surface of the paintings or prints, the
cardboard must be acid free, if only the frames touch regular cardboard can be used). Cut cardboard panels larger than the paintings
to afford maximum protection.
Prints are best stored in frames or matted and enclosed in specially designed, acid-free, lignin-free conservation boxes. Solander
boxes, available through conservation supply companies, are commonly used. Unframed, unmatted prints must be stored flat, between sheets of acid-free, lignin-free paper.
If antique cabinets or chest of drawers are used to store works
on paper, be careful to line drawers with acid-free, lignin-free paper, and change the paper every few years. Also, mark the outside
of each drawer with tags listing the contents.
Regularly monitor for pests that feed on paper and paint, such
as silverfish and cockroaches.
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Storage rack for paintings, with vertical slots or bins. (Reproduced with permission of
the Canadian Conservation Institute)
CREATING SAFE STORAGE FOR PAINTINGS
Sophisticated, commercial systems for storing paintings can be purchased and installed directly in suitable spaces, but few historic house
museums can afford such systems or accommodate them because
of their size. However, relatively inexpensive homemade storage
racks can be constructed easily and fit into closets or small rooms
within the museum.
A simple method that works well for small collections of paintings is a rectangular wooden rack containing a number of vertical
slots or bins, some of which have been divided with shelves to hold
smaller pictures. Typical dimensions for this rack are 6 to 7 feet
high, 7 feet wide, and about 3 to 4 feet deep.13 The actual size of
the unit, of course, will depend on the space available. If a closet is
used, it is possible to add an upper level to the rack if ceiling height
and accessibility allow. Nonetheless, be cautious; it is difficult to
safely retrieve paintings located well above one's head, and small
spaces do not lend themselves to stepstools or ladders.
A high-grade, formaldehyde-free plywood can be used to make
the rack, but the wood should first be treated by covering it with
laminated film, paint with non-oil modified urethane or latex ure-
thane acrylic, or paint containing calcium-carbonate, mica, or aluminum flakes (refer to description of wood storage).
The sides and bottom of the bins must be covered with a protective padding to prevent frames from chipping and splintering
and to protect them from excessive vibration when moving paintings in and out of the slots. Carpet scraps, inexpensive and readily
available, are a good cushioning material.
It may be helpful to label each bin with its contents. This will
prevent the staff from having to remove and view each painting
when retrieving a specific one.
It is important to note that bin storage should be used only
when paintings are stable. Damaged or fragile pictures should be
stored flat.
Hanging Storage Screens An inexpensive and space-efficient method
of storing paintings is to hang them on large, vertical panels that
slide on ceiling tracks. The unit for this function consists of large
A track system can be easily installed for holding paintings of various sizes. (Reproduced with permission of the Canadian Conservation Institute)
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S-hooks work well for hanging paintings from the mesh panels. Other types of hooks
also work well. (Reproduced with permission of the Canadian Conservation Institute)
panels, each a rectangular wood frame covered with rigid wire mesh.
(The dimensions of the unit and number of the panels used will
depend on the space available.) The panels are attached by interior
door hangers to tracks secured to the ceiling. Paintings are hung
from S-hooks positioned on the mesh and can be placed on both
sides of the panels. Screw eyes on the backs of the frames are slipped
onto the S-hooks, holding the paintings firmly in place.
The panels allow for easy access to the paintings because each
panel can be pulled away from the other panels as needed for retrieval. As the collection grows, more tracks can be added to accommodate more artworks.
All materials needed for this system are readily available. The
panels, mesh, and ceiling tracks, are available at most building-supply

stores, and the S-hooks and screw eyes are common stock at hardware stores.
Stacking Paintings Against a Wall As a rule, paintings should not
be stacked against walls. If, however, no other method of storage
is feasible, they should be placed front-to-front and back-to-back
on padded blocks placed at right angles to the wall. The blocks not
only elevate the paintings, but protect them from vibrations. For
further protection, acid-free, lignin-free cardboard dividers should
be placed between the paintings and on each end and drape muslin
or polyethylene sheeting over paintings to prevent water damage
or dust and dirt from collecting on them.
Wood blocks, padded with carpet remnants, can be used to store paintings temporarily. Always insert cardboard dividers between paintings when stacking them in this
manner. (Reproduced with permission of the Canadian Conservation Institute)
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Padded blocks are easy to make with 2 x 8-inch lengths of wood.

They can be covered with carpet remnants or wrapped with fiberfill and covered with muslin. The materials can be stapled or tacked
to the bottom of the blocks. It is advisable to keep several pairs of
blocks on hand, but stacking should be only a temporary means of
storing paintings.
Wood
Wooden objects in historic house museum collections range in size
and shape from small carved boxes to large elaborate furniture. It
is useful to separate the wooden objects found in house museums
into categories of large, medium, and small and to store them accordingly.
Large objects, such as furniture, can be stored by placing them
directly on floor. If the artifact is flat bottomed, it should be raised
on blocks or placed on a low platform to allow air to circulate around
it.14 Large pieces must not be stacked; stacking places stress on
them and also poses a hazard to those who must lift or move the
objects.
Medium-size objects are best stored on shallow metal shelving
lined with polyethylene foam padding. Wood shelving units are also
suitable after they have been painted with acid-inhibiting paints or
covered with laminated film. The bottom shelf must be raised off
the floor to protect objects from possible water damage, dust, and
dirt. A muslin dust flap that can be rolled up or down can be attached to shelving. Or the objects themselves can be loosely draped
with sheets of polyethylene. Store medium-size artifacts spaced so
that they do not touch one another and avoid stacking them.
Small wooden objects should be kept in drawers, either in existing units or in metal storage drawers. These should be lined with
polyethylene foam or unbleached, washed muslin. The lining will
act as a dust barrier and provide a background for easy detection
of insect activity. Tiny wooden artifacts can be stored in polyethylene bags or acid-free boxes to ensure that they do not roll into
cracks or the corners of drawers.
Because wood is hygroscopic, it adjusts to its environment, absorbing water vapor under humid conditions and releasing water
stored when the air is dry. This shrinking and swelling is known as
wood movement. When changes take place too quickly, wood will
often crack and warp, veneers may detach, and finishes may checker.
The preferred relative humidity for wood is between 40 and 55
percent. However, the actual relative humidity as it relates to wood
is not as important as the speed with which changes in humidity
occur. Wood does have a limited ability to adapt to either dry or
moist environments as long as the transition is slow. When moving
furniture or wooden artifacts from one area to another, check the
environmental conditions in each area and their possible effects on
the artifacts.
Air flow around wooden objects in storage is also paramount to
their safety. Objects stored in unventilated, damp areas can develop mold, mildew, and fungus growths, which eventually will destroy wood fibers. If wooden objects must be stored in basements
and other damp areas, monitor the area frequently and place fans
at intervals to keep air circulating.
It may be necessary to clean wooden objects before storing them.
Use a small bristle brush; a clean, dry, soft cloth; or a hand-held
vacuum with a nozzle attachment (be sure that wooden surfaces are
stable before using a vacuum). Highly finished surfaces can be
cleaned with a slightly damp, clean cloth.
Finished wood surfaces may require wax to protect them. A
thin coat of microcrystalline wax (which is translucent and moisture
resistant) should be carefully applied once or twice a year.15 This
type of wax is available through conservation supply companies.
Plain paste wax can also be used if applied lightly and thoroughly
buffed.
Commercial furniture polishes should not be used because they
often contain silicones that can accumulate on wood and become
impossible to remove.16 Other products to avoid are linseed oil and
lemon oil. Linseed oil, with repeated application, can damage finishes and cause them to become tacky and attract dust, eventually
even darkening the wood.17 Lemon oil will also damage finishes by
becoming tacky with prolonged use.
When moving wooden objects for any reason, place them in a
padded carrying box or cart to avoid scratching and breaking. Pads
should be placed between objects for further protection. Wooden
objects can be fragilepieces can come unglued or, because of
shrinking, fall off. Lift wooden objects with two hands and always
support the bottoms of smaller objects.
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Metalwork
A detailed description of cleaning and polishing techniques for metal
will be provided in Chapter 7, but the subject warrants comment
here. The types of metalwork found in historic houses are varied.
Some are gleaming and polished silvercandelabra, etched and
decorated serving platters, elaborate desk accessories, or toilette
services. Other metal artifacts have dull surfaces, such as utilitarian
copper and brass pots, cooking utensils, and lanterns. Not all metal
is intended to shine, and polishing would give an inaccurate interpretation of its original appearance.
Some metal objects will have a natural patinaa thin film, usually green, caused by oxidation. Metal may also be given an artificial patina by using acids instead of waiting for natural aging. Outdoor metal sculptures and statues sometimes painted to resemble
marble and stone are other examples of applied film. Any patina,
natural or applied, will preserve the metal with a protective cover
and should never be removed.
Before attempting to "clean" a metal object, try to determine
how it might have been used in its original setting. You may find
that it always looked "aged," not polished and bright.
Storing Metal Objects
Metal objects can be stored according to size, either on metal shelves
lined with thick felt or on wood shelves that have been covered
with laminated film or painted with non-oil modified urethane or
latex urethane acrylic. A thin padding of batting or polyester fill
can placed on the shelves and covered with muslin cloth.
Relative humidity in the storage and exhibit areas should be
kept below 60 percent to avoid corrosion of metals such as iron. If
possible, metals should be stored apart from wood objects and other
hygroscopic materials. Also, it is best to store metals on an inside
wall, where there is less chance of moisture seeping through and
causing rust or corrosion.
When placing metal artifacts in storage or moving them for any
reason, always wear clean, white cotton gloves. Never allow bare
skin to touch metal; oils from the hands will mark the surface and
cause it to tarnish. Never overcrowd metal objects on the shelves,
and never stack platters, plates, bowls, or similar artifacts. This
practice may seriously scratch the surfaces.
When moving metal objects, place them in a padded carrying

box or cart to avoid scratching or denting. Pads should be placed
between objects for further protection.
Drape polyethylene sheets over stored metal objects to protect
them from dirt and dust.
Cleaning Metal Objects
All metal artifacts must be cleaned with extreme care. Even a soft
cloth can scratch and mar a metal surface. If an object is very dusty,
go over it with a hand vacuum with a soft bristle attachment. This
will pull the dirt from the piece instead of rubbing it across the
surface. If the object is only lightly soiled, use a jeweler's brush to
remove the dirt.
NOTES
1. Conservator Jim Horns, personal communication, September 1990.
Pamela Hatchfield and Jane Carpenter treat formaldehyde and its harmfulness to museum objects in Formaldehyde: How Great Is the Danger to Museum Collections? (Boston: Center for Conservation and Technical Studies,
Harvard University Art Museums, 1987). Copies are available through
the Center for Conservation and Technical Studies, Harvard University
Art Museums, 32 Quincy Street, Cambridge, Massachusetts 02138. (617)
495-2392.
2. Carolyn Rose, conservator, Anthropology Conservation Laboratory, Smithsonian Institution, personal communication, Summer 1990.
3. David Erhardt of the Smithsonian Institution's Conservation Analytical Laboratory suggested using calcium carbonate matte board or paint
containing calcium carbonate on wood shelving to buffer objects from
acids.
4. Information excerpted from a draft of an article by David Erhardt,
submitted to Restaurator, as part of the proceedings of the National Archives and Records Administration Fifth Annual Preservation Conference, "Exhibits and Conservation: A Delicate Balance," p. 11.
5. Ibid.
6. Barbara Lang Rottenberg, Care and Display of Glass Collections, Technical Leaflet, no. 127 (Nashville, Tenn.: American Association for State
and Local History, 1980), pp. 3-5.
7. Ibid., p. 5.
8. Ibid.
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102

9. Mary Ann Butterfield and Lotus Stack, "An Ounce of Prevention,"
Weaver's Journal 10, no. 1(1985): 8.
10. Canadian Conservation Institute, Rolled Storage for Textiles, CCI
Notes, vol. 13, no. 3 (Ottawa: Canadian Conservation, 1983), p. 1.
11. Butterfield and Stack, "Ounce of Prevention," p. 9.
12. Bonnie Wilson, curator of Sound and Visual Collections, Minnesota Historical Society, personal communication, October 12, 1990.
13. Canadian Conservation Institute, Storage System for Paintings, CCI
Notes, vol. 10, no. 3 (Ottawa: Conservation Institute, 1986), p. 2.
14. R. L. Barclay, R. Eames, and A. Todd, The Care of Wooden Objects,
Technical Bulletin, no. 8 (Ottawa: Canadian Conservation Institute, 1982),
p. 8.
15. A. Bruce MacLeish, The Care of Antiques and Historical Collections
(Nashville: Tenn.: American Association for State and Local History, 1972),
p. 122.
16. Barclay, Eames, and Todd, Care of Wooden Objects, p. 12.
17. Ibid.
6
Preservation and Care
of the Historic House
Interior
The most difficult task is to maintain the right environment. It
is a matter of compromising, of finding levels of temperature
and humidity, for example which will suit the woodwork, although it would prefer to be more damp, and at the same time
keeping paper happy, even though it would like to be drier.
David Winfield, Foreword, The National Trust Manual of Housekeeping
CONSERVATION, AS IT relates to historic house museums, means the

preservation and maintenance of cultural materials as well as of the
house itself. Many conditionsextremes in temperature and humidity, excessive light, pest infestations, corrosive pollutants, and
careless handlingcontribute to the deterioration and premature
aging of historic artifacts.
In small museums setting the standards for conservation practices and seeing that they are carried out are the curator's responsibility. Yet the curator's role is one of a generalist, and frequently
it is necessary to enlist the aid of a trained conservator when problems in the care of artifacts and structure arise. The conservator is
a professional who can provide an understanding of the history,
materials, and technology of objects and offer a diagnostic examination and analysis of their care. Today these specialists follow a
holistic approach to treatment of objects and can advise on appropriate methods for long-term care, storage, handling, installation,
environmental protection, and general maintenance of objects. They
can also perform the treatment necessary for saving museum ma-
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terials. If you do not know conservators in your area, contact a

larger museum, the state historical society, or the American Institute for Conservation (AIC) for referrals. The AIC publishes an
annual listing of qualified conservators in the United States as well
as a free brochure, Selecting and Working with a Conservator.
Locating a conservator, however, may be easier than finding the
funds to pay for his or her expertise. If the museum lacks sufficient funds for a conservator, it is recommended that a grant be
sought. Conservation grants can be procured from the Institute of
Museum Services (IMS), state historical societies, or from local corporations and foundations concerned with historic restoration (more
detailed information is in Chapter 3).
The grants available to house museums provide for: (1) a review of the strengths and weaknesses of the museum's collections
management and aids in establishing policies and procedures (MAP
II), (2) general surveys by specialists of the overall condition of
collections, upgrading the museum's storage facilities, improving
the museum's environment and the architectural stability of the
building (Conservation Assessment Program, and Conservation
Project Support Program through IMS), and (3) treatment of objects in collections by conservation specialists (Conservation Project
Support Program through IMS).
When seeking funds for conservation you may wish to apply for
a series of conservation grants that begins with a general survey
and a systematic long-range plan for upgrading storage facilities,
improving the collection's environment overall, and treating artifacts in a methodical way. Or you may wish to hire a free-lance
conservator to assess the conservation needs of the museum and to
help train the in-house staff in preventive measures in collection's
care.
Procuring a grant for conservation may take a long time, but it
is worth the wait. Do not be tempted to allow an unqualified person
to fill in until the professional arrives! The very objects that the
museum is trying to save can be seriously damaged in the hands of
an amateur. In the meantime, the curator and staff can become
familiar with literature on preserving collections and historic structures. Such information will enable them to become proficient at
recognizing conservation problems and areas that are in danger of
deterioration. (A list of these sources is included under Chapter 6
in the references section at the end of this book.
Preservation and Care of the Historic House Interior
Identifying Problems
Historic house museums are faced with many problems in protecting the structure and its collection. Often the environment is far
from ideal. The indoor climate may be too cold in the winter months
and far too hot in the summer. It is often difficult to control humidity, particularly when there is little ability to control temperature. Collections are stored in undesirable areasattics, basements,
or closets located on outside walls, where the temperature and humidity can vary greatly.
Sunlight streaming through windows and skylights damages rugs,
bleaches wood-paneled walls, and fades and embrittles fabrics. Excessive light will also increase room temperature and consequently
affect the relative humidity.
Unchecked, insects and rodents will devastate collections. Moths
feed on and live in fabrics, dermestid beetles thrive in areas where
dust has built up, and mice will happily create homes in and from
valuable museum materials.
Atmospheric pollutantssoot particles, dust, acid compounds
are present everywhere. Museums located in metropolitan or industrial areas are more at risk because of the detrimental compounds emitted by automobile exhaust fumes and factory smoke.
Unfortunately, most historic houses do not have air filtration systems to screen such harmful compounds from the air.
Objects are often irreversibly damaged as a result of handling
by untrained staff or volunteers. Even staff or workers who are
only indirectly involved with the museum's collection can wreak havoc
in a historic house.
Controlling the Environment

Gaining control over the indoor environment is a major step in
ensuring the longevity of a collection. The key factors are temperature and humidity. Historic house museums should strive for an
optimal temperature range between 60 and 70F and a relative
humidity between 45 and 55 percent. The term relative humidity is
one that is found frequently in museum literature. It is important
to understand what it is, how it is measured, and how to acquire
an acceptable level of relative humidity in your museum.
Air contains water vapor, ranging from almost none in the desert to complete saturation in a rainforest. 1 Relative humidity re-
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106
fers to the amount of water vapor in the atmosphere. Expressed as

RH, relative humidity is the relationship between the absolute humidity (the amount of water vapor in a given volume of air) and
the maximum amount of water vapor that a specific volume of air,
at the same temperature and air pressure, is able to hold. 2 The
ability of air to support and contain water vapor varies with the
temperature. 3
Because relative humidity and temperature are interrelated, the
RH will decrease as the temperature increases; at the same time,
the amount of water vapor that the air can hold will increase. Hot
air, then, has a greater capacity for holding water than cold air.
Consequently, when the temperature drops, so does the ability of
the air to hold moisture.
Extremely high humidity, usually measured at over 70 percent,
causes serious damage to organic and inorganic materials because
they will absorb the water vapor. In fact, most decay of organic
objects can be attributed to extremely high humidity. Pests, too,
will reproduce and flourish in warm, humid environments and can
ruin organic materials. Mold and mildew stain and disfigure paper,
and textiles and wooden objects swell. Wool, cotton, and linen absorb moisture and their dimensions change. High humidity can also
cause adhesives to break down and leather to expand. For example, high humidity effects a framed painting in a number of
ways: the wood stretcher frame absorbs moisture and swells, causing the canvas to stretch, the canvas (made of woven fibers) begins
to sag, and the painted surface cracks and eventually loses its paint.
Inorganic materialsceramics, glass, metals, stone, and concreteare also negatively effected by high humidity. Glass may weep
or sweat, metals will corrode, and stone and concrete may spall.
Another problem arises when inorganic materials contain or come
in contact with chlorides. High humidity activates chlorides, causing crystals to grow and, eventually, pitting and surface loss of stone,
ceramics, and concrete, and causing corrosion of metals.
Extremely dry conditions, below 30 percent relative humidity,
which usually occur during the dry winter months or in arid climates, can also be a problem for organic materials. Wood will shrink,
crack, or warp and finishes may checker. Paneling and carved wood
embellishments may peel or loosen because adhesives have dried
out. Textiles may become desiccated, losing their flexibility and,
eventually, the fibers will break down completely. Paint will dry up
and chip from surfaces. Inorganic materials, however, generally do
quite well in dry conditions.
An even more harmful situation than too high or too low hu-
midity are fluctuating temperatures and humidity. Repeated cycles

of rising and falling humidity cause the most serious damage. Annual cycles in northern climates can range from nearly 100 percent
relative humidity in summer with no dehumidification to as low as
10 percent in winter if heating is provided without humidification. 4
Fluctuation can also occur if air-conditioning systems are run
only during the day to save on operating costs. With the change in
temperature when the air-conditioning is turned off, the relative
humidity will change, too. Objects will accommodate to the change
by shrinking and releasing moisture during the drier part of the
day and expanding and absorbing water molecules when the relative humidity rises.
Temperatures may also vary considerably during colder months.
The practice of setting the thermostat at, say, 68F during the day
when the museum is open, primarily for the comfort of the visitors
and staff and turning it down at nightsometimes as low as 50 or
55Fmight be seen as conscientious budget management. But it
should be avoided at all costs. It is much more expensive to repair
objects damaged because of fluctuating atmospheric conditions than
to pay the increased cost of maintaining an even temperature both
day and night.
It is unreasonable, of course, to expect that all historic house
museums will be able to attain the ideal levels of humidity and temperatures. However, if the staff works to eliminate the greatest extremes in relative humidity (below 30 percent and above 70 percent), many humidity-related problems can be avoided.
Humidity Levels
CHECKING HUMIDITY LEVELS
There are several accurate and easy devices for measuring relative
humidity: psychrometers, hygrometers, thermohygrometers, and
hygrothermographs.
The sling psychrometer can be purchased for $45 to $75 at
scientific instrument or supply companies. This device has two
thermometers, one for a dry-bulb reading, and one for a wet-bulb
reading. A cotton wick fitted to the wet bulb is saturated with distilled water and the device is whirled around. Readings are taken
from both thermometers, and the relative humidity is easily calculated on a psychometric table, included with the instrument.
To obtain accurate readings the procedure must be followed
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108
carefully. Wicks must be clean and fit snugly. New wicks should be
soaked in at least three changes of distilled water each overnight.
The instrument must be whirled in a steady, even motion for 3 to
4 minutes for an accurate reading. (Care must be taken when
"slinging" an instrument in the proximity of collections.)
A more accurate and easy to read instrument is the aspirated
psychrometer. It operates with a small fan powered by a flashlight
battery. The fan draws cool air across wet- and dry-bulb thermometers; readings are calculated on a psychometric chart, often printed
directly on the instrument. (The wet bulb is snugly fitted with a
clean wick and kept wet in distilled water in the instrument's reservoir for several readings.) The psychrometer can be purchased
for around $130 through scientific instrument companies such as
Cole-Parmer.
A new product recently offered through instrument companies
is the hand-held relative humidity meter. These meters are lightweight and compact and can be brought into any area. The readings are digitally displayed and provide measurements from 10 to
100 percent relative humidity. This psychrometer costs around $130
and is preferred over the sling type because it is simple to use (there
is no need for making calibrations from a psychometric chart), and
it does not need to be whirled around collections.
Other affordable devices for the small museum are the
hygrometers and the thermohygrometer (the latter used to indicate both relative humidity and temperature). These instruments
base readings on either hair bundles or cellulose sensors that expand or contract as they absorb or release moisture. Both are accurate and easy to read and are available in several different models
and prices. The most common are the dial-face models that can be
easily mounted on a wall. These range in cost between $25 and
$85. The digital thermohygrometer, which displays simultaneous
readings of both relative humidity and temperature, is particularly
easy to use. It runs for a year on a AAA battery and costs around
$60.
The most inexpensive relative humidity indicator is the paper
hygrometer, which contains cobalt salts that change color as the
relative humidity rises or falls. The device works well in a closed
environment, such as an exhibit case, but should be avoided as the
only method of testing in larger spaces, where it can be inaccurate.
The paper hygrometer can be ordered through conservation supply companies.
The hygrothermograph, like some of the hygrometers, bases
readings on hair bundles or synthetic fibers. This instrument is most

useful for recording; it yields a continuous permanent record of
temperature and relative humidity. Inside a clear acrylic case is a
drum wrapped in a chart with two fiber-tipped arms that record
directly on the chart. The drum rotates once a week. This apparatus is helpful in determining changes in relative humidity over
time, and the paper chart provides the museum with a permanent
record. The primary drawback is the expense; the hygrothermograph usually costs more than $500. Another limitation is that it
must be recalibrated frequently. However, the hygrothermograph
can be recalibrated against a battery-operated psychrometer.
MAINTAINING AN ACCEPTABLE LEVEL OF RELATIVE HUMIDITY
As a general rule, the museum should have a number of humidifiers in use in the winter months and dehumidifiers in place in the
summer months, even with air-conditioning.
Dry Environments In dry environments water vapor can be added
to the air by using portable humidifiers. The number and the size
of the humidifying units will depend on the size of the historic
house. Experiment with the numbers and types and consult a retailer, such as Sears, where humidifiers are sold.
Two types of humidifiers are available. One is a spray humidifier; the other is an evaporative type. The latter is preferable because spray humidifiers may overcompensate, filling an area with
too much water vapor and, if distilled water is not used, coating
objects with a fine film of particulate matter. A common problem
with portable humidifiers is that they run out of water quickly, resulting in a rapid drop in the relative humidity. Or the controls
may be altered by visitors passing through or by staff who are not
aware of how the device functions. Too much humidity during the
winter months can be disastrous to the house's structure: vapor
condenses and freezes within walls, leading to deterioration of brick
surfaces.
In the winter months the thermostat should be kept no higher
than 70F. The higher the temperature, the easier it is for objects
to lose moisture. Some museums intentionally keep their indoor
temperatures just below 65F because it is believed to be better for
the life of the furnishings.
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110
Damp Environments Use portable dehumidifiers to maintain relative humidity below 60 percent. The number and size of the units
used will depend on the house. Dehumidifiers will need daily regulation. The water collected in them must be emptied daily. It may
be possible to place them in areas near a sink or drain, where the
water can be channeled away with hoses; however, the units will
need to be monitored daily for leakage and overflows. Monitoring
can become problematic on week-ends or during holidays when the
staff rotates, so make accommodations for these changes.
The use of silica gel is another way to help reduce high humidity. It is a porous, granular, noncrystalline form of silica that acts
as a drying agent.5 Stable, noncorrosive, and chemically inert, silica
gel is especially useful as a desiccant in small areas such as exhibit
cases or small storage areas. Some grades are specially colored to
indicate when the gel is dry (blue) or when it has reached a level at
which it is no longer useful as a good desiccant (pink). Silica gel
can be purchased from chemical and laboratory suppliers, as well
as conservation supply companies. (To be effective, silica gel must
first be "conditioned" to the desired relative humidity. For instructions on this procedure, refer to the Canadian Conservation Institute publication Silica Gel.)
AIR-CONDITIONING
Typically, high humidity and excessive heat go hand in hand. If

central air-conditioning is being considered by the museum, it is
important to conduct a feasibility study first. Basic questions need
to be asked. Can the system be installed without damaging the historic structure or compromising the esthetics of the museum? It is
best to consult with an architectural expert before making a commitment to an air-conditioning system.
The use of room air-conditioning units in historic buildings is
not recommended. They cause fluctuating temperatures, not only
in the areas of use but also in surrounding areas. Further, the units
are often used sporadically, making it difficult to maintain a constant temperature.
In historic houses lacking central air-conditioning, there are
several ways to cool the interior. First, window coverings can be
closed at the hottest and brightest times of the day. Exposure will
be different for each room, but it is easy to determine when damaging rays are streaming into a room. If there are no window cov-
erings, then it is essential to install window blinds or to add

ultraviolet-inhibiting film to windows to prevent excessive heating.
Cool interior rooms by placing electric fans at intervals, hidden
from visitors' eyes. If possible, place fans in windows on upper floors
to draw in cooler night air: it will, to some extent, exchange with
the warmer air on lower floors, cooling them. (If windows are to
be opened during the night, use removable screens on the windows
to eliminate the possibility of insects, bats, birds, and other creatures from entering the house.) Some historic houses were built
with roof openings to facilitate the release of hot air trapped inside
the building during the summer months. These, too, should be
opened at night to allow cool air to circulate. (Make sure to fit these
openings with screens to avoid pests from entering.)
Controlling Light
Light is a primary adversary of organic historic materials and can
be difficult to control in historic house interiors. Too much sunlight, as well as artificial lighting, can cause textiles to dry out and
fade, wood-paneled walls to lose color, and fabrics and leather to
become brittle. Although some substancessuch as wool, linen, and
silkare more sensitive to light than others, inert objects such as
ceramics and glass may also be affected.
In general, three "types" of light are used in museums: sunlight, incandescent light, and fluorescent light. Sunlight is harmful
to historic objects because it generates heat and transmits ultraviolet rays as well. Incandescent light (tungsten lighting), too, is a
concentrated source of heat, but has little or no ultraviolet radiation (although some bulbs, such as tungsten-halogen [quartz-iodine],
may produce a significant amount of ultraviolet radiation). Fluorescent bulbs function with virtually no heat buildup, but the ballasts (the device used to start the voltage) do produce heat and can
overheat a display case or add heat to a room. The primary problem with using fluorescent lighting is the transmission of ultraviolet
radiation.
Controlling the amount of ultraviolet light entering the historic
house museum is fundamental. But how do you know how much
ultraviolet light is present in the exhibit areas? How is this light
measured?
Light levels can be measured by using a light meter. Many types
are available; one that is highly recommended is the model that
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112
gives a digital reading in both foot-candles and lux (a unit of illumination). This costs about $300 and is available through
Art Preservation Services
253 East 78th Street
New York, New York 10021
If the museum cannot afford a light meter, a public agency such
as the state historical society may be willing to lend one for a short
time. Light levels can also be estimated using a 35-mm single lens
reflex camera with a built-in light meter, and a sheet of white matte
board or boxboard. This procedure is outlined in the Canadian
Conservation Institute's pamphlet Using a Camera to Measure Light
Levels.
A general rule is that light levels should not exceed 15 footcandles or 150 lux. The ideal is no more than 10 foot-candles of
light for organic materials. For particularly light-sensitive objects,
keep levels between 2.5 and 5 foot-candles, or around 25 to 50 lux.
If you find the levels in your museum are too high and cannot be
controlled, follow the measures outlined below to safeguard your
collection.
The table on page 113 shows the light sensitivity of various materials.
An object's rate of deterioration is directly related to the amount
and type of light to which it is exposed, and to the length of exposure.6 It is important to remember that the effects of light are
cumulative. A sensitive object left for an extended period even in
a "safely" lit environment will eventually show effects of light degradation. In the historic house, light damage is particularly noticeable in rooms that have been exposed to sunlight for long periods
of time.
Keep in mind that historic curtains and draperies will also be
strongly affected by sunlight. Historically, housekeepers closed
window coverings during the bright, hot times of the day. Although this kept the sun from objects within the room, as well as
lowering temperatures, it speeded the deterioration of the window
covering itself. In some museums where curtains have hung for
decades with no ultraviolet protection, dry rot has advanced so far
that they actually fall apart when touched. Printed or colored fabrics will lose their color almost completely, and white areas will become yellowish in color. If possible, replace original curtains with
reproductions and carefully store the originals to ensure their longevity.

Light Sensitivity of Materials
Material
Extremely sensitive
Textiles
Paper
Dyed leather
Feathers
Vegetable-dyed materials
Lacquer
Multimaterial construction
Moderately sensitive
Bone, ivory, horn
Cellulose materials, such as
wood, tapa, baskets, reeds,
grass, leather, parchment,
rawhide, skin
Fur
Furniture
Least sensitive
Metal
Stone
Ceramic
Glass
Recommended Light Levels

2550 lux, 2.55.0 footcandles
150 lux, 15 foot-candles
1,000 lux, 100 foot-candles
Adapted from William Lull and Linda Merk, "Lighting for Storage of Museum
Collections: Developing a System for Safekeeping of Light-Sensitive Materials,"
Technology and Conservation 7, no. 1 (1982): 20.
Leather, too, will deteriorate when exposed to sunlight. During

the late nineteenth and early twentieth centuries, embossed leather
was sometimes used as a wall and ceiling covering in houses, and
as upholstery for furniture. Unprotected, leather splits and cracks,
especially in areas where pressure is applied, such as seats and armrests. Sitting on a chair that has a cracked leather seat increases the
stress and may further damage it. Visitors (and staff) should never
be allowed to sit on any historic furniture, especially those with leather
and fabric coverings.
Historic houses can be protected from light damage in a number of ways.
Pull blinds, shades, louvers, or draperies as part of the daily routine. If no window coverings exist, consider installing awnings or
plantings to diffuse the incoming sunlight (silk plants can be placed
near inside windows to diffuse incoming light.)
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Consider applying ultraviolet-inhibiting film to the windows. The

film, which is very effective and easily applied, is made by several
companies. An effective, long-lasting brand is Scotchtint P60,
available from distributors of sun filtering products.7 Scotchtint
P60 is a nearly clear, aluminum-based film, composed of two
layers of adhesives, one of aluminum, a barrier coat, and a layer
of polyester to prevent the aluminum from corroding. It offers
total protection from ultraviolet rays and blocks 33 percent of
infrared exposure. An asset of the film is that it can be fitted to
the inner frame of the window and is virtually invisible. Use of
ultraviolet film not only protects historic rugs and furnishings but
also allows more flexibility in displaying light-sensitive objects. The
film filters ultraviolet radiation for about ten years; then it will
need to be replaced.
Use slipcovers or fabric covers (muslin) to protect fabrics and furnishings that are vulnerable to sunlight. Housekeepers from earlier times used this method to protect furnishings during the
summers. Also, cover historic carpets with heavy muslin (available from wholesale fabric supply companies) when rooms are
not in use.
Place sensitive materials, such as oil or watercolor paintings, books,
or textiles that are displayed open away from windows and in the
darker parts of the room. Careful consideration must be given
before using any unstable object in a period room display or exhibit where further damage may be incurred by light exposure.
If fluorescent lighting is used, warm white fluorescent tubes or
low ultraviolet fluorescent lamps are the least harmful. The tubes
should always be covered with ultraviolet filters (available through
conservation supply companies), and the fixtures should be no
closer than 2 feet from museum objects. (The filters must be well
fitted to prevent uv leakage.)
Incandescent lighting is dangerous because of the heat it generates. If it is used in exhibit cases, make certain that the cases are
vented to allow heat to escape. If your museum uses incandescent
fixtures that replicate historic lighting, keep them at least 3 feet
away from curtains, furnishings, and paintings. The heat generated from an incandescent fixture with candle flares can easily
scorch or ignite objects within close range.8
Photoflood lights, often used by photographers, also generate heat,
often extreme. Use caution when such lights are used; placed too
close to an oil painting, they will literally cook it.9 Also the re-
By placing protective sleeves over fluorescent bulbs, sensitive museum objects can be
protected from harmful ultraviolet rays. (Photograph by Bernice Wenzel, courtesy of the
American Swedish institute)
peated flash from photographic equipment will harm sensitive

materials, such as textiles and paintings. The museum may wish
to establish a rule that visitors cannot take photographs in the
museum, a common answer to the problem. (If such a rule is
instituted, the museum should have postcards or slides of the historic house available for purchase.)
When displaying light-sensitive materials in an area without
ultraviolet-inhibiting film on windows, use a piece of plexiglass
with ultraviolet inhibitor such as UF-3 to cover the vulnerable
article.
Turn off all lights in period rooms or rooms containing historic
materials when no visitors are present. This will partially eliminate the stress of ultraviolet emissions (while saving on the utility
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bills). It may be possible to ask visitors to switch lights on and off

as they move from room to room or to station guards on each
floor for this task.
Controlling Insects and Rodents
It is not unusual to find insects and rodents in historic houses. These
pests can be very destructive, especially to organic materials. However, pests can be controlled if preventive measures are used.
Preventing a pest infestation in the museum can be achieved by
good housekeeping and regular monitoring of collection and exhibition areas. By scrupulously observing the following safeguards,
you may never be faced with an infestation.
Keep all food and plants away from collections, and restrict food
consumption to an area a safe distance from collections. Food
attracts pests and can also be damaging to artifacts.
Keep storage and work areas uncluttered and free of dust and
dirt. Clean frequently.
Schedule regular checks of collections storage and exhibit areas
every few months and keep records of any evidence of pests.
Set out sticky traps (glue boards) in storage areas to see if anything turns up. Sticky traps, cardboard forms containing a strong
glue that holds fast any pests that wander across them, are available at hardware stores or from extermination companies. Pests
can then be identified and appropriate measures taken to eliminate them. Change the traps frequently! The bodies of dead bugs
can entice other pests to feed on them.
Pests Commonly Found in the Museum
CLOTHES MOTHS
Clothes moths are the insects most commonly found in the historic
house. Two frequently found species, the webbing clothes moth
and the casemaking clothes moth, infest woolens and animal fibers.
Both can be identified by their yellowish or buff-colored wings and
soft bodies. The cycle of the clothes moth begins when the adult
lays its soft white eggs, which hatch into white larvae. The larvae
spins a cocoon and then transforms into an adult moth. At maturity the larvae are the most destructive, feeding on the fabrics in
Collections must be protected from insects that can do extensive damage. Here feathers have been attacked by dermestids and moths. Larva of the Odd Beetle can be seen.
(Photograph by Tim Ready)
which they live. A thin, silky webbing is always associated with a

moth infestation, as well as telltale holes in the fabric. Frass (moth
excrement, webbing, and other fuzzy debris) also indicates the
presence of moths.
CARPET BEETLES
The yellow to brown, hairy larvae of carpet beetles can be found

in stored woolens, carpeting, drawers, cupboards, or any place where
lint has accumulated. The adult beetles are small, black to mottled
black and white, ovoid-shaped insects and usually do little damage.
It is while the beetle is in its larval state that it feeds on wool, fur,
feathers, hair, animal fibers, and bristles.
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POWDER-POST BEETLES
This common wood-boring insect bores tiny holes in wood and,

like clothes moths and carpet beetles, is most harmful in the larval
state. Some wood with these telltale holes are free from the insects
and only the damage remains. However, a light-colored powder on
or around a wooden artifact is a sign of a live beetle infestation.
SILVERFISH AND FIREBRATS
Silverfish and firebrats (much like silverfish, only they prefer warmer
climates) can cause great damage. Paper is their main food staple,
but they are attracted to starch in some types of fabric, such as silk,
cotton, linen, and rayon. In eating the starches, they abrade the
surface of textiles. Silverfish and firebrats are more damaging to
paper, such as documents, books, and works of art on paper. They
thrive on the paste or glue in paper, creating holes as they feed.
Watch carefully for these elliptically shaped insects. They dash
about with serpentine movements, running for cover when lights
are turned on. Silver or gray in color and covered with scales (hence
the name "silverfish"), they are easily recognized. They seem to
prefer humid areas, although they can be found throughout a
building, wherever they can procure a meal. Silverfish and firebrats
are very adroit; they can make their way inside framed watercolor
paintings to get at the paper.
The best protection against silverfish and firebrats is to keep
paper materials in metal cabinets with gasketed doors. Inspect books,
documents, works of art on paper, and textiles frequently for their
presence.
COCKROACHES
This persistent insect has been around for millions of years and
will probably outlive homo sapiens. Although roaches can be found
throughout North America, they are particularly ubiquitous in the
South. They can be identified by their broad, flat and oval shape
and their tan or brownish color. Because roaches feed at night, it
is often difficult to detect their presence. Cockroaches feed on any
number of materials, including glue, leather, bookbindings, envelopes. If you have these pests in your museum you will find that
they can seriously damage paper, leaving holes much as silverfish

do. Unfortunately, damage to books or prints may be the first evidence of an infestation.
Cockroaches can be excluded by using insect-tight metal storage
units and controlled by rigorous housekeeping. Check boxes and
bags that are brought into the museum, making certain no roaches
or their egg capsules are carried in. Egg capsules are dark colored
and range in size and shape from a grain of rice to a kidney bean.
Store these containers outside the building, or at least away from
collections. Keep kitchen and lunchroom areas clean and food stored
in sealable bags or containers. Make sure there are no leaks under
sinks or from faucetscockroaches need water to survive. Keep
water in the sink's trap and plug or screen rarely used drains to
prevent roaches from traveling through plumbing. Use roach traps
such as the Roach Motel or a sticky trap to determine where the
roaches are coming from and to try to eliminate them at the source.
If you choose to use an insecticide, use with caution, it can be harmful
to humans and collections. If your museum is persistently plagued
with cockroach infestations, it may be necessary to engage professional exterminators.
RODENTS
Rodents are a frequent source of trouble in historic house museums. One of the most common and destructive rodents is the
house mouse. Many museum materials have been ruined because
mice have found them perfect places for their nests. Textiles have
been shredded to create the nests for future generations, leather
chewed and eaten, clothing destroyed, wooden household articles
gnawed completely through. Mice can set up housekeeping easily
in most houses, since they use organic materials for both food and
nests.
A good way to prevent mice from destroying objects is to inspect artifact storage areas frequently. Do not allow them time to
make a comfortable home. Watch for droppings or other traces of
their presence, such as urine or shredded cloth and paper. If you
find a nest, remove it and all historic materials from the area immediately.
Use snap traps, sticky traps, and automatic traps such as KetchAll brand models to catch mice. Once they are caught, destroy them.
Avoid anticoagulant rodent bait. Rodents do not die until days after
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eating it, while they continue to damage collections. They may die
in an inaccessible place and attract other pests, such as dermestids
(beetles) and moths, to feed on the body. Once trap stations are
set, check them regularly. Dispose of mice promptly.
Squirrels have been known to gain entrance to houses through
chimneys, open windows, roof openings, and vents. Usually they
enter the house accidentally and want to get out as much as you
want them out. But they will need to be trapped and removed because they will chew on anything to get out of the house. Once they
have been trapped (which may require the help of a local exterminator), close off or repair the places where they entered the
building.
Bats can gain access to houses easily through very small openings. They, too, will need to be excluded, by closing off their entrances to the house. Bats are migratory and will leave a residence
for other destinations during the year. After they are gone, repair
any openings, plug holes, and caulk thoroughly.
Safe Elimination of Insects Through Freezing

In the past the most common way smaller museums rid objects of
common insects was to place in close proximity chemicals such as
Para-dichlorobenzene (PDB), naphthalene flakes (moth crystals), or
Vapona (such as Shell No-Pest strips). These substances were readily available and were largely successful in eliminating the insects.
Unfortunately, all these chemicals are extremely toxic to humans,
even with limited use. They should never be used in the museum,
under any conditions. But how can a museum deal with pest eradication without chemical fumigation?
An alternative to use of chemicals for insect control is to freeze
organic materials. Freezing is an easy method of eradicating moths,
dermestids, and silverfish in textiles, wood, books, documents, or
any material of plant or animal origin. It is preferred treatment
today because it is generally safe both for artifacts and humans and
has a 100 percent kill rate when done properly. Freezing, however,
should not be used on plastic or wax objects. Also, some synthetic
materials and objects may react adversely to freezing. Contact a
conservator if you have questions about freezing a particular object.
The basic principle behind the procedure is that living cells are
Some organic material can be frozen to eradicate insect infestations. A common

household chest or upright freezer can be used. By attaching a thermocouple to the
freezer, interior temperatures can easily be read. (Photograph by Tim Ready)
made up of 90 percent water. During freezing, the water crystallizes into ice, rupturing cell walls and killing all stages of insect life,
from eggs to adults.10
To carry out this process, the museum will need to acquire a
freezer, either a chest or vertical type. Install it in an area where
objects are prepared for storage and make certain that it can attain
a temperature of -20C (4F) temperature that is effective for insect eradication. Then proceed with the following steps.
1. Check the object to be frozen for weaknesses. When
freezing painted wooden objects, exercise care. Wood will
contract at a different rate than the painted surface, damaging the paint. If any object appears unstable, do not freeze
it!
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2. Prepare infested materials for freezing by placing them

in a clear polyethylene bag. Remove excess air and seal the
bag with a tie or tape. Keep bagged material at room temperature (18C) until placed in the freezer.
3. Place the bag in the freezer, making certain that air
can flow around it.
4. Use an indooroutdoor thermometer or a thermocouple (instrument with a probe end and connecting wire
for measuring temperature). Place the probe end on top of
the bag and the display end (component where temperatures are digitally displayed) on the outside of the freezer
door. This device makes it easy to read the temperature of
the interior artifacts. The temperature must drop to at least
20C within eight hours. Maintain this temperature for a
minimum of forty hours.
5. Remove the bag from the freezer and slowly thaw it
to room temperature. It is helpful to place materials in an
insulated container to ensure slow defrosting.
6. After the material has thawed, repeat the freeze-thaw
cycle. This will eliminate even dermestids, which can produce protective antifreeze chemicals once, but not twice. By
freezing objects twice, you are assured of total eradication.
7. After the objects have completely thawed the second
time, the dead insects and frass can be removed by brushing
or vacuuming. Before doing this be sure that the artifact is
strong enough to withstand the vibration or suction of either
of these procedures. Clean the deinfested object at a safe
distance from the collections and dispose of all plastic and
vacuum bags.
8. Keep records of the procedure, including the date and
time of freezing, the length of time the object remained in
the freezer, the temperatures that were attained, and the
type of insect(s) present. 11
Keeping the Historic House Clean

In preserving the historic house museum, it is of major importance
to keep the furnishings, flooring, and exhibits free from dust and
dirt. Dust particles are abrasive and are a primary cause of damage
to fabrics, historic rugs, textiles, and works of art (see Chapter 7).
Protection begins at the front door. A large, oversized mat should
At the Lincoln Home in Springfield, Illinois, special runners are used to prevent the
abrading of historic carpets caused by visitor traffic. (Photograph courtesy of the Department of the Interior, National Park Service, Lincoln Home National Historic Site)
be placed outside the door to encourage visitors to remove grit,

dirt, mud, or snow from their shoes. Another stiff mat should be
placed inside the entryway, with a sign asking visitors to clean their
shoes thoroughly before entering.
Another practice that is becoming commonplace in European
house museums is to ask visitors to use shoe covers to cut down
dirt being tracked through the house. Nonskid shoe coversonesize-fits-all, polypropylene socks with an elastic top that can be
stretched over virtually any shoecan be purchased quite inexpensively through scientific or laboratory supply companies.
Another protective measure is to cut down on abrasion caused
by visitor traffic is the museum carpet runner. 12 The runner, which
can be placed directly on top of a historic rug, is made of wool
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edged with a cotton strip but, unlike regular carpet, has no backing. The runner can be special ordered to match the colors of existing carpets and in widths to accommodate wheelchairs and baby
strollers. Signs can be placed around the rooms requesting visitors
to stay on the runner. Or stanchions can be situated to guide visitors along the runner and away from unprotected carpets.13
Another agent that works to destroy historic objects is air polluted with particulates and gases. Air pollution is especially prevalent in urban areas, and museums located in industrial areas are
most at risk because of emissions from automobile exhausts and
factory smoke. Compounds such as sulfur dioxide (which combines
with water to form sulfuric acid), nitrogen dioxide, and ozone can
destroy organic and inorganic materials alike, corroding metal, affecting stone and plaster, concrete, paint, metals, cellulose materials, and dyes. These compounds can be even more destructive
when mixed with water molecules. In coastal areasand even inlandair contains highly corrosive chloride salts, which can have
devastating effects on historic materials.14
The most effective way to protect the historic house from airborne pollutants is by using an air-conditioning system with a filtering unit. If such a system is beyond the budget of the museum,
other methods can be implemented. Explore the possibility of using a portable filtration system just for the storage areas. This system, which will control particulate matter as well as contain gaseous
media, can be added to rooms targeted as high priority, at a cost
of $400 to $1000.15 If a filter system is used on the furnace, make
certain that the filter is changed frequently.
Muslin bags can be used to protect wood, glass and ceramics,
leather, clothing, and textiles from particulate pollution while in
storage. The bags can be made easily from unbleached, washed
muslin with a simple drawstring opening. Silver and other metal
artifacts can be wrapped in acid-free paper and placed in polyethylene bags. Be certain not to seal the bag completely, because it is
important for the air to circulate. A cloth covering (sometimes called
a drugget) placed over displayed historic carpets also offers some
protection against air pollution. (Coverings can be made from heavy
cotton muslin with the edges hemmed). Druggets or a sheet of clear
polyethylene can be placed over carpets when the museum is closed,
or kept in place at all times if the carpets are very fragile.
Another method of fighting particulate air pollution is to be
sure that the exhibit and storage areas are dusted and vacuumed
daily.
Finally, collections should be monitored regularly. If metals

change color, leather appears brittle, or textiles are deteriorating,
immediate action must be taken. If the objects or materials are on
display, remove them and wrap them carefully in muslin or acidfree paper and place them in a safe storage area.
Proper Handling of the Collection

The handling of art objects and antiques requires special knowledge to avoid senseless and irreversible damage. Even workers who
are only indirectly involved with the museum's collection can wreak
havoc in the historic house. Ladders that are too tall or too large
for interior spaces can swing out of control and damage chandeliers or mar wood paneling. Workers may carelessly handle tool
boxes, hardware, and other equipment, damaging fragile rugs or
furniture. Staff members or volunteers may improperly lift furniture or heavy objects, causing breakage or structural weakening,
not to mention serious physical harm to themselves. Careless
housekeeping can also create problems. There are several rules that
should be stringently followed to avoid mishandling of historic objects in the museum. Take the time to think through the special
handling procedures for your museum. Put them into a written
format and distribute copies to the staff and volunteers, and keep
copies on hand for reference. It is important that your museum
staff adhere to these guidelines.
General Handling Procedures
Before moving an object from one place to another, plan the move
fully. Know where the object is going and exactly how you will get
there. Clear the path from anything that may be in the way. Always
discuss the plan with the moving crew and make certain that everyone understands his or her role. Demonstrate proper handling
techniques to the crew and have all necessary tools and equipment
available before beginning.
Use ladders of the appropriate size in the historic spaces. If a
large ladder is needed, two people should move it around the
interior.
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Collections in museums must be handled carefully. Here a volunteer wears white cotton gloves to handle properly historic photographs in the archives of the Hennepin
History Museum in Minneapolis, Minnesota. (Photograph by Bernice Wenzel)
Before moving furniture, tie down with cotton cording all loose
parts, such as drawers and leaves. Remove marble or glass tops
before picking up furniture.
Never drag furniture or works of art, always lift them.
When lifting furniture or heavy objects, always have an adequate
number of people assisting; it is worse to have too few than too
many in the delicate process of moving large historic pieces. Always lift furniture from the bottom, never by the arms or back,
and keep the piece in its upright position, not on its side or upside down. Move only one piece at a time and never stack one
piece upon another.
When touching any historic object, wear white cotton gloves. If it
is not possible to wear them, wash hands frequently. Latex or
grip-type gloves should be worn when handling slick-surfaced artifacts in glass, porcelain, or polished stone because they can easily slide out of one's hands.
When carrying a large object around the museum, do not walk

backward or obstruct your view with the object. If you cannot see
around an object, it is too dangerous to move without help.
When carrying a small artifact around the museum, be sure that
it has been carefully padded and placed in a carrying box. It is
much easier to move a box than to grapple with an awkward vase
or a cumbersome platter. Never let the object protrude over the
sides of the box; this makes it vulnerable to breakage. Smaller
pieces should not touch one another. It is best to pad each piece
with heavy acid-free tissue paper or cotton padding to prevent
them from knocking together.
When moving historic rugs, wall hangings, bed coverlets, and the
like from period rooms, roll the pieces on a cardboard tube and
be sure that enough people are on hand to assist in moving them.
Do not bend textiles and never let them sag in the middle. This
will create stress and break the fibers.
Before moving a painting, print, or antique mirror, check to see
that it is in stable condition. Look for a canvas that may have
become loose or the back of a mirror that has slipped in its frame.
When carrying paintings, mirrors, or any framed artwork, keep
one hand on the bottom for support and the other hand on the
side. This eliminates stress and distributes more evenly the object's weight. Never carry framed objects with one hand or tucked
under your arm, no matter how small they are.
When moving any object, be sure not to lean it against a wall.
Framed works that have been innocently rested against a woodpaneled, painted, or papered wall scratch and mar the wall's surface.
Never smoke, eat, or drink around artwork or historic objects!
If carts are used in the museum, be sure not to overload them.
NOTES
1. Nathan Stolow, "The Action of Environment on Museum Objects,
Part 1: Humidity, Temperature, Atmospheric Pollution, Curator 9, no. 3
(1966): 178.
2. A. Bruce MacLeish, The Care of Antiques and Historical Collections, 2d
ed. (Nashville, Tenn.: American Association for State and Local History,
1985), p. 21.
3. Stolow, "Action of Environment," p. 178.
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4. William P. Lull, with assistance of Paul N. Banks, "Conservation
Environment Guidelines for Libraries and Archives in New York State"
(Draft used in workshop, New York, September 1990), pp. 23.
5. Canadian Conservation Institute, Silica Gel, Technical Bulletin, no.
10 (Ottawa: Canadian Conservation Institute, 1991), pp. 23.
6. Three main categories of light-sensitive materials have been outlined by MacLeish in Care of Antiques and Historical Collections. These are
cellulose materials, present in paper, wood, and some textiles; organic
materials, such as leather, silk, wool, bone, and ivory; and paint pigments
and various painting media, such as synthetic resins and oils and water
color pigments.
7. The 3M Company in Saint Paul, Minnesota, is the manufacturer of
Scotchtint P60. Contact their customer service department for a list of
distributors of this product.
8. Margaret Fikioris, "Textile Conservation for Period Room Settings
in Museums and Historic Houses," in Preservation of Paper and Textiles of
Historic and Artistic Value II, ed. John C. Williams (Washington, D.C.:
American Chemical Society, 1981), p. 257.
9. MacLeish, Care of Antiques and Historical Collections, p. 21.
10. Sherry Butcher-Younghans and Gretchen E. Anderson, A Holistic
Approach to Museum Pest Management, Technical Leaflet, no. 171 (Nashville, Tenn.: American Association for State and Local History, 1990), pp.
1-8.
11. The information on freezing was taken from ibid.
12. Margaret Fikioris, conservator, was the first to use these carpet
runners at Winterthur Museum.
13. Fikioris, "Textile Conservation," pp. 259-60.
14. Ralph Lewis, Manual for Museums (Washington, D.C.: National Park
Service, 1976), p. 70; Garry Thompson, The Museum Environment (London: Butterworths, 1986), pp. 130-60.
15. William Lull in his work "Conservation Environment Guidelines
for Libraries and Archives in New York State (unpublished handout), recommends the company Dust Free, Inc., P.O. Box 454, Royse City, Texas
75089, for small environmental control equipment. Contact Mark K. Mullaney, director of marketing, (214) 635-9564.
7
Historic Housekeeping
There are houses which have soul and spirit, inclined to joy or
sorrow; there are places of dignity and grandeur. There are
facades of brick and stone that hold images; there are little silent places where, in half-forgotten whispers in dusty corners,
the stories of ages find voice.
Margaret Meade-Fetherstonhaugh, Uppark and Its People
THERE ARE A wide range of concerns involved in cleaning the historic house, and before a cleaning routine can be established, a
great deal of research and analysis is required. The cleaning techniques used in the museum will depend on the object cleaned, what
it is made of and how it was made, and its condition. Cleaning
painted surfaces will require different techniques than cleaning wood.
There are different procedures for cleaning metal fixtures, historic
wallpaper, rugs, chandeliers, or decorative elements.
If you do not know how to clean properly the special materials
that make up the historic house and its furnishings, it is best to do
nothing at all until you have learned the appropriate methods. Much
irreparable damage is done at the hands of those who are eager
but untrained.
It may be necessary to consult with specialists before cleaning
sensitive materials. For example, if there is extensive woodwork in
the house, a specialist familiar with the wood species, millwork
methods, and historic techniques in staining and finishing should
advise on cleaning methods and the products best suited to use on
woodwork.
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Cleaning the varied furnishings in a historic house is a demanding job. It is essential

to know the composition of each object and understand how to clean it properly.
"Little Girl's Room," the Vogler House, Old Salem Restoration. (Photograph courtesy
of Old Salem Restoration, Winston-Salem, North Carolina)
Establishing a Housekeeping Routine

Before cleaning is started, several questions need to be asked.
Has adequate research on appropriate cleaning methods been
conducted and consultations with specialists been completed?
Has a written report on housekeeping policies and procedures
been completed by the curator? Are there written instructions for
daily treatment of the historic structure?
Who will be doing the housekeeping, a contracted cleaning service or the staff? Is the service or staff knowledgeable and wellinformed as to the proper cleaning techniques?
The Housekeeping Staff

The role of the cleaning staff is fundamental to the operation of
the historic house museum. Members of the cleaning staff must be
highly informed and well trained, applying prudence in all aspects
of its care.
The relationship between the curator and the housekeeping staff
is one of the most significant in the museum. The curator must
communicate with the staff members daily, keeping them abreast
of issues ranging from conservation measures to plans for changing exhibits. The staff, in turn, must provide daily information on
the general state of the house and the condition of the objects on
exhibit. Consequently, all are informed of problems in the museum
that need attention.
The number of people on the housekeeping staff will depend
both on the physical size of the museum and its resources. If funds
are limited (as they often are), volunteers can be recruited and
trained as housekeepers. Appoint persons who are dexterous, communicative, and responsible. Remember that they will be continually in contact with important historical materials and need to
have a strong sense of the significance of the objects and their
fragility.
The Housekeeper's Notebook

In order to perform effectively, members of the cleaning staff must
have specific information on procedures, supplies, and schedules.
They need to be aware of the consequences of under- and
overcleaning and the possible irreparable effects of using the
wrong solutions and chemicals or of applying cleaning materials
with inappropriate equipment. It is important to compile data
about the historic house and to keep this information in a notebook, where it can be referred to easily. This notebook should contain:
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It is important for the cleaning staff to have a strong sense of the furnishings historical significance, fragility, and value. Exquisite furnishings in the Port Royal Parlor.
(Photograph, courtesy of the Henry Francis du Pont Winterthur Museum, Winterthur, Delaware)
A detailed cleaning schedule.

A detailed list of cleaning procedures for each area. For example: carved woodwork, slate floors, glass or Plexiglass exhibit
cases, wood floors, marble fireplaces.
Reports from specialists that explain processes of care and preservation of the historic house.
The Housekeeper's Logbook

The housekeeper should keep a complete record of all cleaning
activities. Entries should be made daily: a list of tasks completed,
materials used and how they were applied and notations of damage
or areas of concern, followed by the initials of the housekeeper in
charge. A copy of the cleaning schedule and dated photographs of
areas or artifacts showing signs of wear or damage should also be
included in the logbook. (The logbook can consist of a spiral notebook placed inside a three-ring binder. A copy of the cleaning
schedule can be kept in a pocket of the binder, and the photographs can be placed in polyester sheets that fit the rings.) The
housekeeper's logbook is an important document, serving as a
chronicle of the museum's changing condition.
The Cleaning Schedule

Set the schedule the members of the cleaning staff will follow and
determine the supplies and methods they will use in the cleaning
process. Establish the hours; will the staff work the same hours as
the curator so that there can be an exchange between them?
The cleaning staff and curator each should have a copy of the
cleaning schedule. Another copy should be filed in the curator's
office as a record of established procedure. The schedule should
be divided into sections: daily, weekly, biweekly, monthly, quarterly, semiannual, and annual duties. It should cover the following
tasks.1
Dusting (chair legs, window ledges, ornate wood surfaces, picture
frames, etc.).
Vacuuming (historic rugs, hanging textiles, frames, baseboards).
Spot-cleaning walls and other high-traffic areas.
Removing garbage.
Cleaning of bathroom.
Cleaning of kitchen or lunchroom.
Cleaning of glass cases, mirrors, picture glass.
Washing windows.
Washing blinds and modern draperies.
Buffing and waxing wood floors.
Waxing woodwork.
Cleaning chandeliers and light fixtures.
Cleaning storage areas.
Cleaning walkways and entryways.
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Preparing a schedule is useless if it is not going to be followed.

It is the responsibility of the curator to make certain that all of the
tasks are being carried out and that they are executed with care. A
breakdown in communication between the housekeeper and the
curator can result in improper handling (or even the destruction)
of historic materials and a generally unkempt museum.
Procedures
As mentioned earlier, a detailed set of procedures should be kept
in the housekeeper's notebook and carefully followed. Whenever a
new person is installed as housekeeper, the procedures should be
carefully reviewed to ensure complete understanding of historic
house care. The following are specific procedures.
General Dusting
For dusting woodwork, moldings, mantels, picture frames, louvers,
and other horizontal surfaces, a clean, soft cotton cloth should be
used. It should be large enough to cover a substantial surface adequately, but small enough to be easily managed in the housekeeper's hands. The cloth can be either dry or slightly damp, allowing for the dirt and dust particles to be more easily picked up. A
good source for soft cloths is a diaper service, where clean diapers
may be purchased at little cost. They have a large cleaning surface
and can be washed and reused. Other suitable cloths are cotton
towels, either bath or dish size cut to an appropriate dimension,
pieces of flannel, or other soft and absorbent fabrics, such as white
T-shirt material.
It is important to remember that dust cloths should be washed
frequently in a mild soap solution and rinsed several times in clear
water. When a cloth's surface is soiled, fold the cloth to a clean side
and continue dusting until all sides are soiled. Then replace the
cloth with a clean one. The grit on a soiled cloth can cause damage
by abrading surfaces with the grit from the soil.
Dust cloths, as well as dust mops, should not be treated with oils
or sprays. Although a treated cloth tends to pick up dust more
easily, it leaves an emulsion on the surfaces that will attract dust.
Instead, it is far better to dampen a cloth with a small amount of
water.
Cleaning delicate carved historic woodwork with a cotton swab. (Photograph by Bernice Wenzel, courtesy of the American Swedish Institute)
Dusting with a Vacuum Cleaner

A vacuum cleaner is an efficient tool for dusting because it removes
dust from a surface instead of merely pushing it around. A canistertype vacuum with a soft bristle attachment can be used effectively
on horizontal surfaces, baseboards, and door frames. It should not
be used, however, on historic wallpapers, built-in wood carvings, or
wood paneling, which need special care.
Hand Dusting with a Soft-Bristled Brush

Certain objects will require special care in their cleaning. Picture
frames, decorative plasterwork, carved wood friezes, pillars, ceilings, wood paneling and accessories, such as paintings, porcelain
objects, books and inlaid furniture, should be hand dusted regularly with a soft-bristled brush of an appropriate size. Be sure that
the brush is clean before use. Paintings should be dusted with hor-
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izontal strokes beginning at the top of the painting working downward (after it is certain that the painting is in stable condition).
Dusting porcelain can be precarious. Take precautions to stabilize
the piece or hold it with one hand, brushing the dust off with the
other. When dusting books take care not to touch the leather cover
with an ungloved hand; the hand's oils can discolor book covers.
Dust inlaid furniture carefully, checking the floor after dusting for
any fragments that may have come loose. Loose inlays should be
reported immediately to the curator and recorded in the housekeeper's logbook. Loosening is part of the aging process; the glue
used in attaching inlay pieces will eventually desiccate and the inlay
will loosen. A conservator or wood specialist should be called to
attend to this kind of deterioration.
Cleaning Glass and Plexiglass

Glass and Plexiglass surfaceswindows, mirrors, exhibit casescan
be cleaned with an ammonia solution or commercial cleaners and
wiped either with paper towels or lint-free cloths. Prepare an ammonia solution by mixing warm water in a large plastic bucket with
a small amount of ammonia (work with the solution to find the
desired proportions). This solution will remove fingerprints and
dust and soot that has built up over time. Plexiglass should be cleaned
biweekly with an antistatic solution available from museum conservation catalogs or locally through plastic specialists.
Washing Windows
Washing windows is a job that is best done with two people. One
can clean the higher windows while the other works on the lower
panes. This buddy system can ensure safety if a ladder is used, with
one person steadying the ladder and assisting the other when stepping up and down.
Before washing is started, all coverings should be removed
and any furniture close to the windows should be moved aside.
Take care that the cleaner does not drip on wooden sills and
ledges.
Vacuuming
Vacuuming must be performed with special care. Select a vacuum
that is easy to manipulate, one that will not damage historic furniture if it is bumped against wooden legs, corners, or walls. Extra
padding might be added to the vacuum's base to prevent accidents.
The museum may need two vacuums: a large commercial machine
for cleaning synthetic carpet in public areas and a small, more
manageable type for carpeted steps, hanging textiles,and historic
rugs. Synthetic rugs in heavy traffic areas must be vacuumed daily
to remove the dirt and grit that visitors bring into the museum.
Also, hardwood floors can be vacuumed with special brush attachments.
Vacuuming Historic Rugs
Periodic cleaning will remove dust and grit that abrades fibers and
may seriously damage rugs. If rugs are walked on as part of a house
tour, they will need to be cleaned more frequently than those blocked
off from visitor traffic. (Runners are highly recommended on historic rugs). A delicate balance must be achieved in vacuuming rugs
often enough to keep them clean but not so often that they are
damaged by overcleaning.
Special care must be taken vacuuming historic rugs. Always be
certain that the historic rug is in stable condition before attempting
to clean it. A small, slow-action vacuum used with a monofilament
screen is best for removing dirt (at no time should a large, powerful machine be used on old rugs). The screening, which will prevent threads from being pulled from the rug into the vacuum, can
be purchased at any hardware store and in any size. To prepare
the screen, simply cut it into the desired size for the area to be
cleaned and sew cotton strips around the screen's edges to give it
support. Several different screen sizes might be kept on hand. For
smaller rugs, a 2 X 2-foot size is suggested; adjust the size of the
screen depending on the size of the rug. For very large rugs, you
may wish to make a more rigid frame for the screen, using wood
strips coated with polyurethane to prevent acids in wood from
reaching rug. Attach the screen to the frame with rustproof staples
and always work with the screen staple-side up. Monofilament
screening should also be used for vacuuming historic upholstery,
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draperies, and window coverings. A soft bristle upholstery brush

used with the screen is a safe cleaning technique for most fabrics.
Spot Cleaning Painted Walls

and Other Painted Surfaces
Some painted surfaces in the historic house will not respond to
cleaning with water alone. For the stubborn fingerprints and stains
that blemish such surfaces, a good cleaning agent is a combination
of a soap, such as Orvus, and water. (This product can be purchased through conservation supply companies.) To mix the solution, add about 1 percent Orvus in a small container of water and
gently rub the surface to be cleaned. Rinse the area with a different
cloth and dry it with a third one. Do not use detergents on historic
wallpapers or painted plasterwork.
Caring for Historic Wallpaper
Paper has been used as a decorative wall covering since about the
late seventeenth century in America, but it was especially popular
in eighteenth- and nineteenth-century homes, where it was not uncommon to find multiple patterns of wallpaper used in one room.
Although vulnerable to light degradation and dampness, historic
wallpapers have survived, in some instances layered one upon another.
A general rule is not to dust or try to clean historic wallpapers
because of their fragile nature. Keep window coverings drawn in
papered rooms to prevent fading, and try to lower humidity levels
to prevent mold growth. Do not allow staff or visitors to touch wallpapers or to brush against them with shoulders or bags. If wallpapers are heavily soiled or torn, contact a conservator to administer
treatment.
Cleaning Plasterwork on Ceilings and Walls

Cleaning plasterwork in the historic house is an arduous task but
should be carried out at least once a year. Ornamental plasterwork
In house museums where historic wallpapers have survived, the best care given them
is preventive maintenance. This same care should be applied to rooms with reproduction wall coverings to ensure their longevity. (Photograph courtesy of the Department
of the Interior, National Park Service, Lincoln Home National Historic Site)
easily accumulates dust and dirt particles, which settle on depressions and protrusions of moldings and cornices.
Cleaning can be done (carefully) with a hand brush and a small
vacuum cleaner. Use the brush for cleaning the plasterwork and
the vacuum for removing the loosened dust. A good, small, but
powerful vacuum cleaner is the Data Vac. It is lightweight, and can
be held by a shoulder strap. The Data Vac comes with several feet
of hose and different nozzle attachments. It is available at computer stores or office-supply companies. Cover the areas beneath
the plasterwork where dust is likely to fall, with polyethylene sheets.
While cleaning, watch for signs of cracking or any other damage.
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Note all findings in the housekeeper's logbook and report findings

to the curator.
Cleaning Blinds and Window Shades
Blinds, louvered shutters, and shades should be cleaned regularly,
since a large amount of dust and dirt enters the house through
windows, particularly in urban areas where factory smoke and automobile exhausts add to airborne pollution.
For cleaning Venetian blinds and louvered shutters, use a soft,
slightly damp cloth. Turn the blinds (louvers) to the closed position, and wipe them from the top slat down. If plain water does
not remove the soil on the blinds, try a solution of soap (such as
Orvus) and water.
Historic window shades should be dusted with a soft brush or
wiped with a dry cloth. If dusting with a dry cloth does not clean
shades, a slightly damp cloth might be more effective. Be sure to
test a spot before proceeding with damp cleaning; the dust or grime
may smear instead of being lifted off.
Cleaning and Waxing Wooden Floors
As a rule, wooden floors should be dry mopped daily. For a more
thorough cleaning use a damp mop with a cloth or string-mop head.
Dip the mop into a bucket of clean water, and wring it until it is
only damp. Use a back and forth motion to clean the floor, making
sure that the mop does not strike the wood baseboards. Areas that
are difficult to reach, such as the corners and areas close to walls,
should be cleaned by hand with a damp cloth.
Waxing floors is acceptable if done only occasionaly, but before
waxing, make sure polished floors are historically accurate for the
house. Always use a nonskid paste wax (paste waxes can be removed with denatured alcohol or a commercial floor-wax remover,
while other commercial waxes must be stripped).2 Apply the wax
with a soft cloth, using a circular motion, and polish with a similar
motion. If the room is large, it may be necessary to rent or buy a
floor-polishing machine.
The polishing machine can do a number of tasks associated with
polishing, or buffing, a floor. It can be used to scrub stubborn areas
(often polishing machines are outfitted with scrubbing brushes and
buffing pads or brushes) and to spread the wax. It is the buffing

of the wood floors that gives them a luster. Floors can be buffed
anytime a luster is required. Often, through daily use, floors will
begin to dull from the dirt and soil that is tracked into the area
and ground into the floor. To renew the shine, first dry mop the
floor, and then buff it with a soft cloth or the polishing machine.
Again, be sure that it is historically accurate to shine the floors in
your historic house. Undoubtedly some floors were never intended
to have a luster. A word of caution about using a polishing machine. Remember to remove all furniture in the path of your work.
Also, avoid running the machine to the edge of the baseboards.
These areas should be polished by hand. (Use the appropriate size
polisher for the room; an over-size machine may be difficult to
handle and can result in damage.3)
Cleaning Tile, Stone, and Marble Floors
The best way to clean stone and tile floors is wet mopping. This
technique is similar to damp mopping, but less pressure is used
when wringing out the mop. If the floor is particularly soiled, use
a non-ionic soap, such as Orvus, in the water and wash with more
pressure. Ideally, three buckets should be used. A bucket with hot
water with soap, an empty bucket with a wringer, and a bucket of
clean warm water. First, dip the clean mop into the soapy water
and gently squeeze out excess water. Mop a small area of the floor,
and then place the mop in the wringer and squeeze out the dirty
water. Go over the area again. Then rinse the mop in the clean
water, squeeze out the excess, and rinse the area. Continue until all
the soap has been removed. While the floor is drying, place caution
signs to inform staff and visitors of the slippery floor.4
Cleaning Chandeliers
Accumulations of dust and grime on historic house chandeliers will
cause them to lose their sparkle and diminish their beauty. Chandeliers should be cleaned about once a year, depending on the conditions inside the museum. The task should be done with the greatest of carechandeliers are often extremely fragile. The
housekeeper is usually responsible for cleaning the chandeliers;
however, this task can be hired out to experts, such as exhibit tech-
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nicians, who are familiar with the special handling necessary in

cleaning fixtures. It is also possible to hire a cleaning service,
but be sure that such workers are thoroughly trained and experienced.
Cleaning chandeliers is a laborious task that usually requires
working on a ladder. It may be necessary to remove any furniture
directly below the fixture, but if it hangs over a dining room table
made of hardwood and in stable condition, you may want to make
use of it. Place a couple of layers of pads on the table (table pads,
or moving pads) and a thick piece of plywood that is smaller in size
than the padding. Then place a step ladder of suitable size on top
of the plywood in order to reach the chandelier. The plywood will
help to distribute the weight of the ladder, and the padding will
protect the table from both the board and the possibility of making
impressions from the weight of the ladder. For light fixtures not
easily reached by a ladder, it may be necessary to rent scaffolding
from a local scaffolding and platforms company. (The company
will often set scaffolding up, as well as deliver and pick up.) Scaffolding is usually rented by the day; therefore, if the system is to
be cost effective, the housekeeper should see that all chandeliers in
difficult-to-reach spots are cleaned on the same day.
CRYSTAL CHANDELIERS
To clean crystal chandeliers, use a solution of one-quarter isopropanol alcohol (available in hardware or drug stores) to three-quarters
distilled water. This solution can be placed in a plastic spray bottle.
Spray just enough solution onto cotton diapers or lint-free cotton
flannel to dampen slightly. Care must be taken not to saturate the
cloth.
Holding the wires or chain ropes of the crystal drops with one
hand (a dry cotton glove should be worn on this hand to protect
the wires from the solution), gently wipe crystal from top to the
bottom. It is advisable to spread moving pads or other soft padding
in a wide area beneath the fixture. If the crystal drops do happen
to fall off, they will land on a soft place. No drying should be necessary, if the correct proportion is used. The alcohol will evaporate.5 Often crystal ornaments are attached to the fixture with fine
wire, which can rust and begin to deteriorate. If this happens, the
wire eventually will not be capable of holding the glass crystal.
METAL CHANDELIERS AND CANDLE HOLDERS
Cleaning metal chandeliers and candle holders made from materials such as silver, brass, copper, or pewter require special care.
When working with metals, always wear cotton gloves. Brush any
dust or grit from the fixture with a soft brush or cloth, being careful not to rub grit across the surface. Dirt is abrasive and can easily
scratch metal. This light dusting should be done regularly to prevent buildup. For a more thorough cleaning, use a solvent such as
denatured or ethyl alcohol (available at hardware stores), applying
it directly to the fixture with cotton swabs. The solvent will remove
oils and surface dirt and grime. Never touch metals directly with
hands because of the oils on them.
Polishing Metal Fixtures

If metal fixtures are very dirty or heavily tarnished, they can be
polished. It is recommended, however, that a conservator be contacted to discuss the appropriate method for applying and removing polish or that sources such as the AASLH technical leaflet The
Care of Antique Silver and the Canadian Conservation Institute pamphlet The Cleaning, Polishing and Protective Waxing of Brass and Copper Objects might be consulted.
All polishes are made of abrasive materials and the purpose of
the polish is to remove enough of the surface so that the underlying metal, which is brighter and cleaner looking, will show through.
Therefore, while polishing does remove the dull patina on an object's surface, it also removes a small amount of the metal.
Commercial polishes should never be used on historic metal;
they are far too abrasive. The safest polish is a homemade one:
mix into a paste two parts denatured alcohol, two parts distilled
water, and a small amount of precipitated chalk (available at jewelry or dental supply stores). If chalk is not available, other, less
abrasive materials, such as rottenstone or talc (available at conservation supply companies), can be substituted.
After cleaning the fixture with the polishing paste, treat it with
microcrystalline wax (available through conservation supply houses).
The application of a thin layer of wax will protect the metal from
fingerprints and atmospheric pollutants or high humidity.
Glass globes, chimneys, or other glass accessories belonging to
the light fixture should also be cleaned. Dip the glass into a solu-
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tion of ammonia and water in a plastic bucket, rinse in a different
bucket and dry with a clean cloth.
Cleaning Storage Areas
Collections in historic house museums often are stored in closets,
attic space, unused rooms, and even such areas as boiler rooms and
former coal bins. Too often, these areas are neglected, with serious
consequences. It is essential to keep them clean and to check regularly for pests of all types.
Cleaning Entryways, Walkways, and Porches of the Historic House
The visitor's first view of the historic house is of the grounds and
the entrance. An entry area strewn with leaves and cigarette stubs
will often leave a visitor with a negative impression, even though
the interior may be immaculate. Brooms, hoses, sprinklers, or shovels,
when found on the historic houses's grounds or porch, not only
give a cluttered appearance but also can pose hazards to the visitor.
Always store these tools in an appropriate place. Sweep the walkways, porches, and entryways regularly. Repair broken or pitted
paths, and in areas where winter weather brings snow and ice, be
certain that the walkways and steps are not slippery. If steps are in
poor repair, call in a specialist to mend them or have them replacedvisitors can be seriously injured from tripping or falling
on crumbling steps. Rope off any unsafe areas from visitor traffic,
both inside and outside the house. The use of caution signs to inform visitors of places they should not explore is also recommended. Sometimes even signs and ropes will not discourage the
determined visitor from investigating every nook and cranny of the
house. For this reason, it is a good idea to lock doors to rooms that
visitors are not authorized to enter.
NOTES
1. For a thorough guide to housekeeping and scheduling of cleaning
duties, refer to Ralph H. Lewis, Manual for Museums (Washington, D.C.:
National Park Service, 1976), chap. 11. Another excellent book that offers
advice on cleaning and preserving historic buildings is J. Henry Cham-
bers, Cyclical Maintenance for Historic Buildings (Washington, D.C.: National
Park Service, 1976). Hermione Sandwith and Sheila Stainton, The National
Trust Manual of Housekeeping (London: National Trust, 1984), is an invaluable resource in "keeping" the house.
2. American Association for State and Local History, Housekeeping
Techniques for the Historic House, Conservation Techniques for Historic
Houses Series, no. 8 (Nashville, Tenn.: American Association for State
and Local History, 1978).
3. Lewis, Manual for Museums, pp. 22531.
4. Ibid., pp. 224-25.
5. This method of cleaning chandeliers was developed by Susan Wood,
exhibit technician, the Minneapolis Institute of Arts.
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8
Architectural Preservationh:
Maintaining the Historic
House Exterior
Preservation means stabilizing a structure in its existing form
by preventing further change or deterioration.
Orrin Bullock, The Restoration Manual
THIS CHAPTER CONCERNS the preservation of existing historic structures. The term preservation, as used here, describes the process of
continual maintenance of a property in a historically concerned and
sensitive manner to ensure its survival.
Preservation is different than restoration, which refers to the "recreating of the original architectural elements in a building so that
it closely resembles the appearance it had at some previous point
in time." 1 Issues of restoration will not be covered here, since this
book presupposes the historic house has been restored. However,
general references on the subject can be found at the end of the
book.
In discussing principles of preservation, it is necessary to know
that there are established recommendations and guidelines. Most
historic house museums are listed on the National Register of Historic Places, which ethically commits them to follow standards and
guidelines set by the Secretary of the Interior for preserving and
retaining the historic character of a property while allowing for
efficient contemporary use.2 These standards and guidelines should
be used as the framework for establishing the historic house's
maintenance and repair plan. Copies of the Secretary of the Interior's
Architectural Preservation
Shadows-on-the-Teche in New Iberia, Louisiana, is listed on the National Register

of Historic Places. (Photograph courtesy of the National Trust for Historic Preservation)
Standards for Historic Preservation Projects with Guidelines for Applying

the Standards are available through the Government Printing Office
in Washington, D.C.
"Maintenance Is Preservation"
Maintaining a historic building requires applying both logical principles and practical approaches. Dailyas well as weekly, monthly,
and yearly tasks, including inspection and repairare involved. The
work can be tedious, time consuming, and seemingly endless; when
147
Hamilton House in South Berwick, Maine, has been refurbished to reflect its earlytwentieth-century appearance. (Photograph by J. David Kohl, courtesy of the Society for
the Preservation of New England Antiquities)
one cycle of maintenance is completed, a new one begins. Yet

maintenance of historic properties is vital.
Deterioration of historic houses is a continual and, unfortunately, an inevitable process. Damage caused by natural elements
is unending. Improper treatment by well-meaning, but uniformed
caretakers or neglect of basic repair is often a factor in a building's
deterioration. The loss of even the smallest embellishment may diminish a building's historical integrity. The destructive forces of
our environment can be held at bay only through painting and
repainting surfaces, removing abrasive dirt, making repairs routinely, and vigilantly inspecting the structure. The goal of these
efforts is to preserve the structure in its original form or as close
to its original form as possible and to extend the building's life.
Exterior Maintenance
The perceptions and skills of the person who actually conducts the
exterior maintenance of a house will vary from museum to museum. At one historic house a resident caretaker may be expected
to maintain the property; at another, a custodial team will be in
charge; at a small historic house, a regularly scheduled volunteer.
However, it is the curator, site manager (primary on-site supervisor), or director who is responsible for seeing that the work is done
properly. The supervisor's duty is to train the caretaker or staff,
schedule the work, and follow-up to ensure that it has been well
done. He or she must be explicit in communicating what is expected from the museum's maintenance force. The supervisor is
not always an expert and should consult with professionals if problems arise. A written description of each task should be documented in a maintenance manual.
Maintenance Plan
Maintenance requires a plan, one that must be rigorously carried
out. The National Park Service (NPS) lists four components of a
good plan: inspections, work schedules, building records, and
reference support materials. NPS also recommends including a
means of evaluating maintenance activities to determine strengths
and weaknesses within a system.3
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1. Inspection. Draft an inspection schedule. Full-scale

inspections should be made twice yearly, in the spring and
the fall. Special inspections should be conducted at unscheduled times as wellfor example, when it rains or after a
severe storm, to determine how gutters are functioning or
if there are signs of leaks in the roof.4
A thorough inspection requires a complete examination
of the housedo not neglect areas because they are difficult
to reach, cramped, dirty, or unpleasant. Maintenance, in the
words of one state historic preservation officer, "is all a matter of astute observation." One needs to know what to look
for and, when a problem is identified, to determine the
proper approach to remedy the situation.5
2. Work schedules. Work schedules list tasks, both routine and occasional, and specify the frequency with which
they must be carried out. Priorities should be set and followed. After a schedule has been established, it should be
assessed periodically to ensure that it remains pertinent to
the needs of the building. The schedule will also need modification according to the season. Record the schedule in the
maintenance manual.
3. Building records. Knowledge of the structure is essential for proper preventive maintenance. Information about
architectural style, building date, architect(s), and general
contractor or builder will provide insight into the operation
of the house. Learn how it was constructed, the materials
used, and where the materials were procured. Become familiar with how the elements of nature affect the building.
Identify areas of weakness in the structure and monitor them
carefully. Watch for patterns of wear and determine their
sources.6
All maintenance inspections and repair work should be
documented and kept in a maintenance notebook. This
notebook should contain the dates of inspections and a detailed account of the findingslocations of problem areas,
plans for repair, and, after repairs are complete, a description of techniques used to make them. Assessments of past
repairs can also be recorded, as well as comments on past
companies' performances. Keep a photographic record in
the notebook showing changes or the evolution of a repair,
from the initial problem to the completed repair. Avoid using Polaroid prints or instant photos; they will fade quickly,
and there is the possibility they will contaminate files because of leakage from the chemicals they contain.
4. Reference support materials. These materials include
the performance standards and treatment specifications for
performing work on a property and can be compiled by the
site manager, director, or curator. Performance standards
describe when maintenance work should be undertaken; for
example, when repainting is necessary. Treatment specifications are descriptions of appropriate cleaning and repair
methods: in other words, how to go about doing a maintenance job.7
Maintenance Manual
All reference information about the house should be kept in a
maintenance manual. For assistance, see Cyclical Maintenance for
Historic Buildings by J. Henry Chambers. This handbook, used with
guidelines from the National Park Service, will aid the maintenance
staff in hammering out a practical maintenance manual. The following categories, adapted from Chambers's handbook, should be
included in the manual:
History of the building. A concise history of the building to familiarize staff with the building's past.
Catalog of documents. Copies of known documents relating to
the building: historical, architectural, construction, and legal records should be included. Be sure that the documents are copies;
all originals should be kept safely in a vault off the premises.
Evaluation of the resource. A description of the current physical
condition of the building and its components.
Survey forms. Forms describing the exterior of the building and
including information on roofs, gutters, porches, windows, cellars, and outbuildings.
Treatment forms. Forms describing standards and methods for
specific treatments, such as the proper method of cleaning gutters and downspouts. Treatment forms indicate the frequency with
which maintenance should be completed on specific parts of the
building. Treatment leaflets such as those in the series Preservation Briefs, Tech Notes, and others are available from the state
historic preservation office or the National Park Service.
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152
Roseland Cottage (The Bowen House) in Woodstock, Connecticut, was built by Henry
Chandler Bowen, businessman and well-known abolitionist. Roseland Cottage is an
important surviving example of a Gothic Revival summer estate. Gardens and grounds
reflect the landscaping principles of Andrew Jackson Downing, the famous nineteenth-century landscape architect whose concepts exerted a major influence on residential design. (Photograph by J. David Bohl, courtesy of the. Society for the Preservation
of New England Antiquities)
Resource personnel. Names, addresses, and telephone numbers

of consultants and contractors who have worked on the building.
Sources of special equipment. Listings of local sources, with current addresses and phone numbers, such as platform and scaffolding companies.
Sources of materials. Suppliers of special materials as well as
craftsmen or other specialists, such as marble and stone suppliers
and roofing specialists.
Safety considerations. Information on allowable floor loads and

special procedures designed to protect the building, such as the
proper technique for walking on a slate roof. Include a current
copy of building codes and other regulatory measures affecting
the museum and its operation.
Emergency numbers. Current numbers and names to notify in
emergencies, such as fire and police departments, utilities companies, and special maintenance contractors.
A Commitment to Maintenance
A strong maintenance plan must be supported by the board of
trustees. To be carried out properly, it must be well funded. Proper
tools and adequate equipment and materials are crucial to good
maintenance standards. Make the acquisition of necessary supplies
part of annual budget. After all, preserving the historic building is
as important as preserving the collections within its walls.
Preventive Maintenance
Weatherwind, rain, snow, sleet, and suncontinually works to
deteriorate the structure of the historic house. Consequently, it is
paramount that the property be made as weatherproof as possible
to withstand the constant attack of the elements.
It is generally agreed that the element most destructive to a
house is water (or ice). Left standing, water will
Create an environment for rot to thrive.
Weaken roofs and penetrate the building's interior.
Cause masonry and brick to spall, fracture, and deteriorate.
Rust metals.
Cause paint to peel.
To protect a structure, the first rule is to keep it dry and as
watertight as possible. Conduct periodic and comprehensive checks
for signs of water damage, such as staining, growth of moss and
lichens, and softening of wood. Identify vulnerable areas and places
that have been damaged by water in the past.
Constant vigilance, perpetual weatherproofing, religious gutter
cleaning, and continual caulking and painting will help to keep water
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Built in the 1880s, this three-story Victorian frame and brick mansion was designed
to suit the life-style of Theodore Roosevelt. It includes a large porch, gun room, library, and the North Room, a showcase for Roosevelt's personal relics. (National Park
Service, Sagamore Hill National Historic Site, Oyster Bay, New York)
problems under control. Never become complacent about the extent of waterproofing done on a structure. Water will penetrate the
smallest crack.
What to Look for in Determining Water Problems

Certain areas of the historic house, such as the roof, are particularly susceptible to water damage, and they must be monitored reg-
ularly. Locate the source of water or persistent moisture that is

plaguing the health of the house, and quickly eliminate it.
When searching for vulnerable places, look for open joints or
seams that are not protected by caulking or paint. Water will easily
penetrate the end grain of wood on siding, doors, window frames,
shutters, and decorative elements. One expert explains why end
grain absorbs water by characterizing a board as a "series of drinking straws running parallel to the length of the board."8 The straws
draw water into the wood's structure, and there it remains until the
cycle of decay begins.9 Wood ends should be treated with a water
repellant and painted to ensure a longer life.
Search the roof surface for signs of deterioration, such as cracks,
cupping, curling, or waviness. Also look for loose or missing sections. Make regular checks in attic and top floors for discoloration
and stains that may have been caused by water leaking from the
roof.
Clogged gutters cause water to back up under the roof, forming ice dams in cold weather. Clean gutters annually and carefully
inspect their joints and seams. Solder all cracks on metal gutters
and caulk joints to keep them watertight. Always use proper sized
downspouts to direct water away from the house foundation.
Monitor the chimney area and make sure the flashing is in good
condition and caulking is solid. Seal open joints with caulking or
roofing cementcaulking should be a high grade of polysulfide,
butyl, or silicone rubber. 10 Look for cracks and missing bricks or
mortar in the masonry. If the brickwork is deteriorating, it may be
time to replace bricks and repoint. Look inside the chimney top for
stains, which indicate leaks.
Flashing, the metal used to seal joints and prevent leaks, must
be in place where the roof meets chimney, walls, dormers, and adjacent roofs. If flashing is damaged or loose, caulk, cement, or solder any gaps or holes that appear. Also, use proper eave flashing
to direct water away from the house.
Monitor shrub growth and vegetation growing close to or directly on the house. It is recommended that ivy and vines not be
allowed to grow on historic building; the padded "foot" that attaches the vine to the stone and mortar will eventually cause it to
weaken and break apart. Vines also hold moisturegathered on
the leavesclose to the brickwork, eventually causing deterioration. Moss and lichens also retain moisture, leading to rot, and bushes
growing around a house may also hold water that has been bounced
off the siding or has run off the roof.
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Sunnyside is a restored nineteenth-century home of Washington Irving, author of

such classic stories "The Legend of Sleepy Hollow," and "Rip Van Winkle." Irving
purchased the original cottage and, with the assistance of architect and painter George
Harvey, remodeled it, adding Dutch-stepped gables, ancient weathervanes, and Gothic
and Romanesque features. Although the roof forms a beautiful skyline, complex designs such as these can be difficult to maintain. (Sunnyside, Historic Hudson Valley,
Tarrytown, New York)
Monitor wood located near the ground, such as steps, porches,

and low windows, which may stay wet for long periods of time,
inviting decay. If this remains a persistent problem, it may be necessary to change the grade around the house, creating a slope where
water runs off.
Check windows and doors for gaps and cracks that may allow
water to enter, damaging interior walls. Unchecked, moisture in
window frames and doors can initiate rot. Waterproof by painting
window sashes and sills with a high-quality oil-based paint.
Look for peeling paint under eaves or soffits, a sure sign of

moisture problems. Always check wood siding and trim for loose
or damaged clapboards and inspect decorative trim for cracks and
loose fit. Caulk edges to prevent water from entering.
Roof Maintenance
Roofs, continually exposed to weather, take the brunt from natural
forces. A weak roof or one in poor repair can lead to deterioration
of the entire structure. The materials used in roofing vary widely,
and each type requires different procedures for proper care.
Wood shingles have been and in many areas continue to be the
most common roofing material used in this country because of the
ubiquity of wood and the visually pleasant designs they form.
The basic rule for preserving wood shingles is to keep them
free of all debris from surrounding trees and from such live organisms as moss, mold, and other fungi. These can be removed by
scrubbing the roof with a solution of water and bleach. (The proportions of bleach and water will depend on the growth, if moss is
heavy try a more potent bleach solution.) Moss left to grow unchecked can even cause mini-dams to form on roofs."
Wood shingles are highly flammable. They should be treated
with a fire retardant (this is required by some local codes), even
though this process can make the wood shingles brittle.12 The most
effective and lasting treatment is pressure-impregnating the wood
with treated salts after it has been cut.13
The life expectancy of wood shingles is fifteen to sixty years,
depending on local climate and environment. They naturally erode
from rain, snow, and sun, and should be replaced when they have
lost about half of their original thickness. 14
Slate roofs, although they are costly to install, are the longest
lasting and in many ways the easiest to maintain. Slate is durable,
fire resistant, and is prized for its aesthetic qualities. l5 Preservatives
or other treatments are not required, and rot is not a problem as
it is on wood. The suspectible areas on a slate roof are around nail
holes and flashing where water can seep inside, freeze, and cause
breakage; deteriorated flashing should be replaced and gutters
checked periodically.16 Slate eventually can delaminate and erode,
and become brittle with age. It can even break from prolonged
exposure to pollution and rain. Avoid walking on slate roofs, instead use a chicken ladder or ladder and planks to distribute weight
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on the slates. Another method of inspecting roofs too difficult to

reach is to use binoculars.
The longevity of a slate roof will depend upon the quality of
the materials and installation. Poor quality slates installed with inferior nails will need to be replaced much sooner. Properly installed, a slate roof should last between 100 and 150 years or even
longer, depending on the type of slate used.
Clay tile was used as roofing material as early as the seventeenth century in the United States. Although heavy, clay tiles require little maintenance and they withstand a high degree of
weathering. Cracked or broken tiles can also be replaced easily.
The maintenance of clay-tile roofs should consist of regular monitoring for broken or missing tiles, which may cause leaks, and for
moss or lichen growth, the presence of which often indicates a water
problem.
Metals have been quite popular as roofing materials because
they were inexpensive, fire-resistant, easy to install, lightweight, and
generally required little maintenance. By the nineteenth century,
the most common metal roofing materials used were tinplate (tinplated iron), terneplate (leaded tin), tin shingles, and galvanized
sheet metal. During colonial times, the metals most often used on
buildings, such as church roofs, were lead and copper."
Tinplate and terneplate were most often applied in sheets measuring 10 by 14 inches.18 To retard corrosion, tinplate was painted,
usually brown or red but sometimes green to simulate the patina
or copper.19 Tin shingles, designed to simulate tile or wood, were
also used, as were galvanized sheet-metal shingles (galvanized with
zinc to prevent rust) designed to look like pantiles.20 The life expectancy of a metal roof depends on the metal from which it is
made and the local environment. Galvinized roofs survive for 20 to
30 years; lead-coated copper, for 70 to 100 years; and terneplate,
depending on abrasion, for about 50 years.
All metals are susceptible to pollution damage, chemical action,
and metal fatigue. Tinplate and terneplate will deteriorate when in
contact with copper or asphaltic or bituminous materials, such as
roofing compounds and building papers, as well as paints containing bitumen, asphalt, and aluminum. 21 Avoid allowing these materials to come in contact with metal roofing. Most metal roofs must
be primed (with linseed oil and iron oxide primer) and painted
(browniron oxideor, redcalcium carbonate, ferric oxide or
ferrous sulfate). 22
Although maintaining a metal roof is fairly simple, inspections
must be made regularly. If a very small area of corrosion or a

puncture is located, repair it by placing a drop of solder in the
hole. Larger areas will require a patch of the roofing metal.
Each season monitor the condition of the paint on the roof.
Make plans to touch up areas and eventually repaint the entire
roof. When painting a metal roof always be certain paint is made
specifically for use on metal.
Asphalt shingles have been used since the late 1890s and are
the most common roofing material on American houses. One reason for this popularity is their low cost and relative fire resistance.
However, they deteriorate more quickly than wood, metal, or slate
roofing; asphalt shingles are expected to last from fifteen to a maximum of twenty-five years.
Asphalt shingles are made of felt saturated with asphalt and
covered with mineral or ceramic granules. When inspecting an
asphalt-shingled roof, look for wear of the granular surface. If it is
worn smooth, it is time to replace the shingles. Nail heads appearing underneath the shingle and "lumpiness" may indicate multiple
roofs underneath the present one. If this is suspected, it may be
necessary to remove old shingles when it is time to reroof.
Roof Inspections
Roofs should be examined twice yearly for proper preventative
maintenance. First, check the flashing. It is a particularly important
protection. If there are signs of disintegration, replace or repair it
immediately.
Look for changes and for variations and inconsistencies, such
as waviness, lumpiness, sags, or concave surfaces. If possible, get
up close to inspect the roof, giving special attention to areas susceptible to damage from nearby trees or power lines. Look for gaps
and missing or damaged portions. Study the roof from the interior
of the house, checking roof boards and rafters for leaks and testing
for dry rot and the soundness of wood with a pick (an ice pick or
pen knife works well). Inspect top-floor ceilings and the attic for
stains and discoloration.
When conducting an inspection, use a checklist to ensure that
nothing is overlooked. Record findings in the museum's maintenance notebook.
When roof replacement is necessary, preserve the house's integrity by using historically appropriate materials. Before repair work
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Sagamore, the Adirondack mountain retreat at Raquette Lake, New York, was built
on the notion of self-sufficiency. Artisans working at the site created the buildings
and their furnishings from local materials. From this and other similar retreats the
"Great Camp" tradition endured. The main lodge, a mix of Swiss Chalet and rustic
log construction, was built in 1897 by railroad magnate William West Durant, and
later was owned by Alfred G. Vanderbilt. It is currently used as a conference center.
(Photograph by Barbara R. Lewis)
is started, record exactly what was in place before the replacementthe size, shape, color, and the pattern and design of materials to be removed. Carefully photograph the roof to document its
original appearance.
Wall Maintenance
The exterior walls of a house serve as the bastions of the house,
holding the great weight of the structure. In these walls are wood
or masonry or a combination of the two. Whatever their composition, preventive maintenance plays an important role in their survival. Like the roof, walls should be prudently inspected twice yearly.
Examine them for cracks, gaps, signs of warping, and settling. Look
for open joints around door frames, window frames, and trim.
Search for areas on walls where water may enter. Since cracks
are likely to be found in areas where dissimilar materials meet, check
around such places for evidence of water damage, such as stains
and discoloration. Carefully search wood walls for signs of mildew
or mold growthindicators of prolonged moisture. Look for peeling or blistering on painted surfaces; either can indicate water
damage. Use a small pick or pen knife to test areas for rot. Monitor
places where caulking was previously used; it may be time to seal
these areas again.
Another potential problem is differential settling of the building, indicating weakness in the foundation. This is often indicated
by undulating siding and large cracks. Do the walls bulge? Are they
plumb? Examine exteriors carefully for such signs; if they are detected, consult an expert such as an architectural historian because
structural damage may have occurred.
WOOD SIDING
There are several kinds of wood siding: among them horizontal
clapboards, vertical board-and-batten, and shingles in a variety of
patterns and textures. Prudence in inspecting for the enemies that
destroy wood and immediate action taken when a problem is found
will help to preserve wood and prolong its life.
Decay or rot is the primary foe of wood. Three types of fungus
feed on wood houses: mold fungi, stain fungi, and decay fungi.
Mold and stain fungi are more nuisances than destroyers, although they will cause discoloration of wood. Decay fungi are the
most destructive. The two most common types of decay fungi, brown
and white rot, feed on the cellulose of wood cells. Rot can extend
as much as 4 feet into the wood beyond the visible infected area
and eventually will destroy the structure of the wood.23 White rot
causes wood to lose its color and become "whitish." It consumes
lignin (an organic substance that, along with cellulose, forms the
"woody" component in wood), leaving the wood fibrous and stringy.24
Brown rot may be identified by the brown stain it leaves on wood,
by cracks and, eventually depressions. The fungi weakens wood by
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consuming the cellulose; the wood eventually cracks and begins to

collapse.25
The primary preventive treatment for brown and white rot is
simple: keep the structure dry, because these fungi need water to
live.26 Earlier in this chapter some of the ways were outlined on
keeping houses watertight, thus preventing conditions in which fungi
thrive. A few of these methods bear repeating, and others need to
be stated.
If possible, keep exterior woodwork at least 8 inches above the
ground. Wood that comes in direct contact with the ground may
absorb moisture from the soil.
Keep wood painted or stained; exposed wood will allow water to
penetrate, especially at the end grain. Always keep joints tightly
fitted, firmly caulked, and well painted.
Allow air to circulate, do not pile objects against or near walls.
Watch for peeling or cracked paint on wood surfaces, which can
indicate a water problem, find the source of the water, eliminate
it, and caulk and repaint the wood surface.
Use gutters and downspouts to direct the roof runoff away from
vulnerable wood siding.
Repair roof leaks immediately to prevent water from running inside walls and destroying plaster and woodwork. Always keep
gutters clean.
After efforts are made to eliminate sources of water that are
feeding rot fungi, it is necessary to destroy the fungus. A fungicide
can be used on the wood, both that which is being directly attacked
and adjacent susceptible areas. However, fungicides are hazardous
and should be applied by professional workers from a local exterminating company. 27 If wood is too rotted to treat with a fungicide,
it will need to be replaced with lumber treated with a preservative.
Other enemies of wood are wood-inhabiting insects, such as termites and beetles, which will also damage the structural timbers of
a historic building. It is necessary to monitor for termites in wood
structures, most commonly, subterranean and dry wood termites,
which feed on cellulose or starch in wood.28 Subterranean termites,
found in northern climates, can be identified by the shelter tubes
they construct on the interior of buildings. These tubes, made from
mud and dirt, are usually visible on walls of damp crawl spaces and
basements.
Dry wood termites, found primarily in the warmer and moister
climates typical of the southeastern states, do not build shelter tubes.
However, they can be identified by their fecal pellets, which often
appear spilling from cracks in wood. Another telltale sign is the
wings that fall from the insects during a period in their life cycle.29
Powder-post beetles are wood borers, and at the active larval
stage will tunnel inside wood, causing great damage. Watch for exit
holes made by the adults and for fine powdery dust beneath the
holes.30
Other common problems are gaps, cracks, and splits. The larger
cracks can be repaired with wood filler and caulking. For smaller
cracks and splits, caulking alone will work. After repairing the surfaces seal them with paint.
MASONRY WALLS
The use of masonry wallsthose made of brick, stone, stucco, and

concreteis a time-honored building tradition, and many historic
houses employ these durable materials. Even though masonry is
reputed for needing little maintenance, things can go wrong without preventive care.
The primary problem in a masonry building is a breakdown in
the mortar joints that hold the brick, stone, or concrete together.
Where there is joint failure, water will very likely find its way inside
the house. The rule of thumb is that "the mortar must be softer
than the material it bonds."31
Masonry walls can also bend as a result of ground settlement or
because they are structurally inadequate. They can crack where
different materials come into contact, such as a stone window sill
surrounded by brickwork. Masonry can also fail above windows and
door openings because of the stress of the weight above.
Water left to sit in a joint or allowed to flow constantly across
mortar joints will cause premature erosion. A visible sign of water
damage is efflorescence, a white discoloration on the face of the
brick or stone caused by crystallization of salts on the surface.
Cycles of freezing and thawing also wreak havoc with joints and
play a role in the deterioration of masonry. Water frozen inside
saturated brick or stone will expand and cause chips to break off;
a process called "spalling."
Badly deteriorated masonry will need special repaircalled
pointing, repointing, or tuck-pointing. Pointing, a process by which
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the old mortar is carefully chipped out and replaced with new mortar to reestablish a firm bond, will restore the visual character of
masonry and help to preserve historic brick or stone. The work
must be done with care by a good tuck-pointer (a specialist from
the masonry trade) using hand tools, such as a hammer and chisel,
to remove old mortar. Improper cutting can widen joints and damage the brick "crust." The mortar, too, must be chosen carefully to
approximate the color, thickness, and proportions of the original.
If mortar is too rigid, there is risk of serious damage to stone and
brick during the expansion and contraction that takes place in climates with severe temperature changes. Cement mortars, such as
portland cement, are more likely to remain inflexible; consequently, cracks will develop in the wall and spalling will occur. Lime
mortars are softer and more likely to expand and contract with
freeze and thaw cycles.32
A good repointing job can last from 50 to 100 years. When
considering repointing a historic house, the curator or site manager should plan the work carefully. The planning and execution
of a tuck-pointing job takes time.
Finding Architectural Replacements

Regular maintenance will reduce the need for replacing features
on the house, and regular repair will help maintain the original
materials; eventually, however, the museum will need to address
the issue of replacing historic fixtures and decorative materials with
reproductions. For example, cornice molding on the exterior of
the house may have deteriorated and it may be necessary to replace
it. It is generally agreed that replacements should be identical, or
replacements-in-kind. By using similar materials, sizes, finishes, and
designs, the integrity of the house can be preserved.
Before restoring any element of the house, carefully research
the original materials and their source. Merchants should be sought
who will provide accurately produced replacements of high quality.
If members of the maintenance force are uncertain of the extent
of a replacement project or where to find appropriate materials,
they should do nothing until a restoration specialist has been consulted to make recommendations on how to proceed.
But where can one find quality historic reproductions that are
acceptable for museum use? In the past decade, there has been a
resurgence of companies that supply reproductions of architectural
elements and decorative materials. Unfortunately, many "modern
reproductions" are not historically accurate in terms of color, texture, and detail. Consequently, reproductions must be selected with
great care and with the advice of specialists.
Excellent resource books, cited in full in the References section
of this book, are available that discuss correct replacements for
originals include works such as Floor Coverings for Historic Buildings
by Helene Von Rosenstiel and Gail Caskey Winkler, Lighting for
Historic Buildings by Roger W. Moss, and Wallpapers for Historic
Buildings by Richard Nylander. An informative general discussion
of reproductions can be found in William Scale's Recreating the Historic House Interior.
Another indispensable resource is the Old-House Catalogue, where
one can find suppliers of everything from metal ceilings and roofing materials to interior and exterior light fixtures, furniture, fabrics, wallcoverings, and reproduction hardware. The catalog also
lists services that may be needed by owners or managers of historic
houses. This informative book is published annually and can be
found in most area libraries or can be purchased in bookstores.
Organizations can also assist in making correct choices about
reproductions in the historic house. The Society for the Preservation of New England Antiquities and the National Trust for Historic Preservation can be consulted for products and services. Also,
consult with staff of state and local historical societies and the state
historic preservation office. Making visits to similar historic house
museums may serve as a source for comparison.
NOTES
1. Patricia Poore and Clem Labine, eds., The Old-House Journal New
Compendium (Garden City, N.Y.: Doubleday, 1983), p. 50.
2. If your museum is not yet listed, consider applying for registration.
Inclusion on the National Register recognizes the significance of the listed
property and that measures be taken to ensure its protection. House museums that are nonprofit organizations are also eligible for certain federal
preservation grants if they are listed on the National Register.
For more information on applying for National Register status and
assistance in evaluating a property contact the office of the state historic
preservation officer.
3. Kaye Ellen Simonson, Maintaining Historic Buildings: An Annotated
Bibliography (Washington, D.C.: National Park Service, 1990), p. 1.
4. Ibid., p. 1.
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5. A commonly stated phrase used by Minnesota's state historic preservation officer, Charles Nelson.
6. Simonson, Maintaining Historic Buildings, p. 1.
7. Ibid.
8. Clem Labine, former editor of the Old-House Journal, has made the
analogy of a board's end-grain to drinking straws.
9. Clem Labine, "Old-House Maintenance: Dull, But Essential," Historic Preservation 39, no. 1 (1987): 23.
10. Gordon Bock, "Inspecting Chimneys," Old-House Journal 17 (1989):
35.
11. "Preventing Rot in Old Houses," Old-House Journal 2, no. 11 (1974):
1.
12. Charles Nelson, Minnesota's state historic preservation officer,
personal communication February 1991.
13. Sharon C. Park, The Repair and Replacement of Historic Wooden Shingle Roofs, Preservation Briefs, no. 19 (Washington, D.C.: National Park
Service, 1989), p. 9.
14. "Preventing Rot in Old Houses," p. 5.
15. Sarah M. Sweetser, Roofing for Historic Buildings, Preservation Briefs,
no. 4 (Washington, D.C.: National Park Service, 1978), p. 4.
16. Ibid.
17. Ibid., p. 2.
18. John G. Waite, "Tinplate and Terneplate Roofing," in Old-House
Journal New Compendium, ed. Poore and Labine, p. 128.
19. Sweetser, Roofing for Historic Buildings, p. 3.
20. Ibid., pp. 2-3.
21. Waite, "Tinplate and Terneplate Roofing," p. 128.
22. Ibid., p. 129.
23. Charles Nelson, personal communication, January 1991.
24. Clem Labine, "Defeating Decay," in Old-House Journal New Compendium, ed. Poore and Labine, p. 308.
25. "Detecting and Defeating Rot in Old Houses," Old-House Journal
2, no. 10 (1974): 6
26. Labine, "Defeating Decay," p. 308-9.
27. A word of warning! Fungicides and insecticides are very dangerous and should not be used by nonprofessionals (Charles Nelson, personal communication, October 1991).
28. Ralph H. Lewis, Manual for Museums (Washington, D.C.: National
Park Service, 1976), p. 271.
29. Wendy Jessup, Wendy Jessup and Associates, specialists in the care
of cultural property, personal communication, October 1991. Jessup recently wrote "Biological Infestations," a chapter to be included in the National Park Service's Museum Handbook, pt. 1: Museum Collections. For more
information, contact Curatorial Services, National Park Service, P.O. Box
37127, Washington, D.C. 20013-7127. For more information on pest con-
trol, contact Wendy Jessup, 1814 N. Stafford Street, Arlington, Virginia
22207, or call (703) 528-4339.
30. Sherry Butcher-Younghans and Gretchen E. Anderson, A Holistic
Approach to Museum Pest Management, Technical Leaflet, no. 171 (Nashville, Tenn.: American Association for State and Local History, 1990), pp.
6-7.
31. Charles Nelson, personal communication, January 1991.
32. Jonathan T. Schechtman, "Wet Basements," in Old-House Journal
New Compendium, ed. Poore and Labine, p. 110.
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9
Museum Security:
Protecting the Historic House
Museums, by their very nature, must be security conscious.
G. Ellis Burcaw, Introduction to Museum Work
PROTECTING COLLECTIONS AND a house from light, pests, extreme

temperatures, and fluctuating humidity were discussed in Chapter
6. Equally important is protecting the museum against vandalism,
theft, fire, and natural disasters. Regardless of the size or location
of the historic house, provisions must be made to ensure the safety
of the museum, the visitors, and the staff. Security rules and regulations pertain to everyone. Special treatment that may infringe
upon security must not be given to individuals because of their
status or rank.
Vandalism and Theft

Aside from normal wear and tear, house museums are often susceptible to abuse by visitors. In the homey atmosphere and informal ambience of the setting, some visitors feel comfortable enough
to reach out and touch furnishings and objects on display, even
though they may have been asked not to do so. Some visitors are
simply careless or inconsiderate, dropping gum on historic carpets,
littering, or defacing artwork on display. Others will actually steal
objectseither as a souvenir of the site or to sell for profit. Theft
in the house museum is a topic that requires much scrutiny by the
Museum Security: Protecting the Historic House
staff, and plans must be in place to deal with theft when it occurs.
By far the easiest way to control theft is to take steps to prevent it.
A primary method of securing the house museum is to employ
security guards, either paid or volunteer (many house museums
must rely on volunteer security staff because of the expense of hiring guards). Guards positioned around the house will not only watch
for acts of theft and vandalism, but also serve as troubleshooters
when emergencies arise, such as a medical accident or a fire. The
very presence of a security guard will deter individuals who may
have entertained thoughts of pilfering. It is suggested that guards
continually observe visitors, but in such a way that the visitor is
unaware of it.1 (Guards can observe visitors from upper floors or
go about room checks or invent tasks to do while surreptitiously
watching them.) The staff, too, should assist the guards in observing visitors: interpreters, tour guides, demonstrators, and receptionists as they go about their work must remain alert to the possibility dangers of vandalism and theft.
Museum Guards
Because of their importance to the museum, guards need special
training and regularly scheduled, continuing instruction. Professional security officers from police departments, larger museums,
and security companies can be brought in to share ideas and offer
suggestions to the museum's security force and to instill in them a
sense of their importance.
Museum guards should be uniformed and readily identifiable
to visitors. The dress standard might be a light-colored shirt, navy
pants or skirt, and navy blazer. A museum crest or badge will further aid in making the guard easily distinguishable when assistance
is needed.
Guards must also be well informed about the museum. As frontline staff, they are continually asked for directions and questioned
about the history of the house, current exhibits, and the museum's
policiessuch as use of strollers or whether photography is permitted. Visitors often draw conclusions about the museum from its
staff. An agreeable impression is made when guards are knowledgable, friendly, and helpful.
While guards are on duty, they will need to patrol the museum
and remain mobile. After closing, they must make thorough checks
of exhibit rooms, rest rooms, closets, and any other areas that may
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serve as hiding places for potential thieves. If all-night guards are

employed, an outside patrol should be made at least once every
hour. 2
The museum should draft a protection policies handbook, clearly
spelling out rules and procedures for dealing with security and safety:
What is to be done if a visitor is injured in a fall on narrow steps
or hits his or her head on a low doorway or has a heart attack?
What action should be taken if someone is caught vandalizing the
building or stealing? Who fills out accident or theft reports?
The protection policies handbook should be compiled by the
site manager, director, and security personnel. It should either be
small enough to be kept with the guards at all times, or be kept
readily at hand.
One staff memberthe site manager, curator, director, or caretakershould serve as the chief of security. It is recommended that
this person "hold and issue all keys, keep a check-in and check-out
ledger for week-ends and after-closing hours, supervise the guarding of exhibit galleries, be on good terms with the police and the
fire department, and receive extra training in security matters."3
All staff members must be aware of messengers and deliverymen who enter the museum ostensibly to repair equipment, take
meter readings, or make inspections of the boiler or air-conditioning,
or the security system itself. It is a common ruse for thieves to gain
access to a building dressed as repair personnel. Once inside, they
can go about discreetly stealing objects and concealing them in closedlid tool boxes. It is advisable to ask repairmen for identification. In
some house museums, the security chief lives on the site. A guard
on site may deter potential thieves and can deal with emergencies
that occur after closing.
The extent of security measures a house museum employs will
depend on the rules at that particular site. Some museums will not
allow visitors to wander around on their own. Instead, they provide
tours for groups that are limited in size. The tours are led by an
experienced guide, quite often two, who position themselves in the
front and at the rear of the group. With two guides working to
keep a group together and allowing no one to stray, it is easier to
avoid theft. In house museums where visitors, alone or with a group,
are allowed to guide themselves, measures must be taken to further
protect the historic settings and the house itself:
Station guards in areas that are particularly vulnerable.
Keep doors locked leading to areas where objects are stored and
in sections where the public should not have access.

Block vulnerable areas with barriers. Barriers act as both physical
and emotional deterrents, keeping visitors from pocketing objects
and also from damaging furnishings by touching or bumping into
them.
A wide variety of barriers can be used, anything from a simple
rope tied across the entryway of a room to a full-sized sheet of
Plexiglass placed within the door frame, to an electric eye or an
alarm device placed under the carpet at the entrance of the rooms.4
Of course, the effectiveness of the different types of barriers varies. Anyone can quite simply lift a rope and enter a room, while a
full-door barrier is much more difficult and time-consuming to
penetrate.
Unfortunately, selecting room barriers is complicated by the effect that they have on the visitor. For example, it is more difficult
for a museum-goer to appreciate a period room when it must be
viewed through a Plexiglass door. The possibility of creating a "less
real" effect is one that should be carefully considered when deciding how best to secure the house museum.
Security measures should also be taken when displaying objects
in exhibit cases. Use standard display cases and attach the Plexiglass top to the base with tamper-proof screws. These screws have
specially machined heads that must be tightened and loosened with
a custom tool, a deterrent to thieves armed with only an ordinary
screwdriver. To find companies in your area that sell these special
screws, check the Thomas Register of American Manufacturers,
published annually, or look for it at your public library.5 Or call or
write for a catalog from Tamper-Pruf Screws, a company that deals
specifically with security screws and fasteners. 6
When possible, tie objects to their supports with monofilament,
a very fine plastic line that usually cannot be seen and will not detract from the "feel" of the room. Be aware, however, that monofilament can be cut easily with any sharp-edged object. To tie an
object down, wrap the monofilament line around the base of a
sculpture, for example, and tie it to a leg of a table on which the
sculpture sits.
Paintings can also be affixed to walls with security screws. It is
also recommended that objects placed on walls be hung by double
wrapping wires or monofilament around the hooks that hold them.
This helps prevent their easy removal.7
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Electronic Devices
Many security measures can be used. The devices chosen will depend on cost and necessity. No matter where the museum is located or how sophisticated the security seems, no museum is impenetrable. All efforts must be made to thwart would-be vandals
and thieves, because as stewards of important historical and cultural collections, no museum can afford to go without protection.
Consult with professional security companies to decide on the best
approach to take in securing the house museum.
Electronic sentries can be used to supplement the security force
and to protect the museum when guards are not present. A wide
range of devices is available. Motion and sonic detectors (available
from security-equipment companies) installed in special areas of
the museum, such as exhibit rooms, will alert staff to movement
and sound in areas when none should exist. Burglar alarms can be
placed on doors, windows, and other vulnerable openings of the
museum. These alarms, which emit highly audible sounds when
activated, may be connected to the central station of a security company whose staff will notify the police if a theft or break-in occurs
at night or when the museum is closed.
In exhibit areas, simple battery-operated devices that sound an
alarm if an object is moved may be used and, in a restricted area
such as a period room, a pressure sensitive pad placed just inside
the room (hidden discreetly under a rug) will activate an alarm if
someone steps on it.8 Closed-circuit television, which allows security
personnel to survey several areas of the house at once, is another
device often used in museums. Exterior lights that provide overlapping cones of illumination should be installed in parking lots,
driveways, and entryways. Lighted areas tend to deter burglars and
vandals, whereas dark zones encourage them.
Before installing any electronic equipment, careful thought must
be given to how it will appear in the setting. All equipment should
be placed in the least conspicuous spots so that the historical ambience of the site will remain as undisturbed as possible.
Common Deadbolt Lock
High-quality deadbolt locks on exterior doors and doors to collections areas and high security locks on windows and roof openings
will help to reduce the possibility of a break-in. Choose deadbolt
locks that are made of brass with a hardened steel bolt. The bolts
should be 1 inch in diameter with a solid, free-spinning collar (locks
with a fixed collar can be pried off by using a wrench or pliers;
once the collar is removed, a burglar can use a screwdriver to turn
back the bolt, unlocking the door). High-security locks for windows
(such as the double-hung windows commonly used in older homes)
are the pin tumbler sash type that lock on the inside with a key.
They can be purchased from and installed by a locksmith.
Keys for all locks must be carefully controlled and given only to
staff who regularly use locked areas. A current log of individuals
holding keys must be kept by the museum's security officer, and
extra keys must be kept in a secured box or safe.
Visitor Protection and Safety

Visitors come to house museums expecting to enjoy their experience and rarely give a thought to dangers that may be present in
the historic setting. In fact, museum-goers often become so engrossed in the atmosphere of the house that they ignore even the
most common hazards.
To ensure a safe environment, museum staff should assess all
areas of the house and grounds for potential hazards and have a
plan of action to follow when accidents occur. All staff should know
emergency numbers and the location of first-aid kits. It is imperative that the museum's front-line staff be trained to handle emergencies. First-aid training is often provided through the local Red
Cross office, which will also provide follow-up refresher training.
A few general rules will help ensure visitor safety
Lock all areas that visitors should not enter. A persistent visitor
with a strong curiosity will not be deterred by a mere closed door.
Install handrails to steady visitors on stairways and in rest-room
stalls.
Keep the house and grounds scrupulously clean and repaired.
Steps and sidewalks should be kept in a solid state; cracks must
be filled and evened off. All debris must be cleared away. Never
leave rakes, hoes, shovels, or machinery around the grounds. This
gives an impression of disorder.
Regularly inspect outdoor sculptures, reflecting pools, or other
decorative objects for potential dangers they may pose to the public.
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Decorative outside objects may create an attractive nuisancea

situation in which children are attracted to physical objects on the
museum's grounds and subsequently suffer injury from coming
in contact with them. The museum may be liable in such cases.
(For example, a child drawn to a sculpture on the lawn of the
museum, falls when trying to climb onto the sculpture and suffers an injury. 9 )
Remove snow from walkways, and use a deicer when freezing
rain or snow coats sidewalks and entries.
Block off or cover slippery floors or walkways to prevent accidents. A sign stating that a floor is slippery or wet is not enough.
People often miss or do not read signs, especially in museums.
Beware of uneven floors or floor coverings that fit improperly.
They can cause visitors to trip and loose their balance, resulting
in injury.
Steep or irregularly worn stairs are hazardous. Direct all museum
traffic in these areas and make certain that each visitor is aware
of the danger.
Install additional lighting in dimly lighted areas where visitors
might miss a step.
Make certain all equipment, tools, and chemicals are safely stored
and kept locked. Rat poisons and other toxic substances must be
kept out of reach of children.
Disaster Preparedness Planning

The year 1989 was disastrous for museums around the world. In
May, a tornado ripped through a restored Moravian community,
Old Salem, in North Carolina, downing aged trees and damaging
buildings and fences. On September 22, Hurricane Hugo hit
Charleston, South Carolina. Museums and historic houses in the
area were whipped by 135-mile-per hour winds, and a 17-foot wall
of water pounded the shore.10 The Loma Prieta earthquake struck
the San Francisco Bay area on October 17, damaging historic
buildings and museums collections. In December, Romania's National Museum was severely damaged during a civil revolution. It
was reported that paintings were pierced by bullets and damaged
by fire. Galleries in the museum were said to have been gutted by
fire and archival materials destroyed.11
These events were well publicized, but many more go unno-

ticed. Museums are constantly faced with such hazards as high winds,
floods, tsunamis, chemical spills, fire, bomb threats, and even breaks
in plumbing or leaks in roofs.
During the past decade, disaster planning has been the topic of
discussions, workshops, and countless journal articles. This attention has spurred museums to write their own plans for facing disasters and to conduct drills to familiarize their staffs with procedures in the event of disaster. The planning has p
off: many
museums located in Charleston were prepared for Hurricane Hugo.
Members of Charleston Archives, Libraries, and Museums (CALM),
a consortium of twenty-two cultural institutions that had spent years
focusing on disaster preparedness and recovery planning, were left
with relatively minor damage.12
All museums are well advised to write a disaster-preparedness
plan and to see that each staff member has a copy. Consider some
of the steps to take in formulating a plan:
Identify the potential dangers to the museum (for instance, tornadoes are a definite threat in the Midwest or Plains states, while
hurricanes are more prevalent in coastal areas). It is recommended that museums review Protecting Historic Architecture and
Museum Collections from Natural Disasters, edited by Barclay G. Jones.
This valuable book can help staff to assess potential hazards in
the museum's geographic area.13
Create a list of objects in the collections that should receive top
priority for protection during a disaster.
Obtain blueprints of the building and make sure they are easily
accessible to staff. They can be helpful because they show where
heating and air-conditioning, ventilation, alarm systems, and other
pertinent utilities are located.
Plan preventive measures. For example, sprinklers reduce damage from fire or install window shutters to protect the panes from
high winds. 14
Have supplies and equipment on hand to help secure the building and collections, such as plywood sheets to nail over outside
windows to prevent glass from shattering and tarps or sheets of
polyethylene to cover windows and to protect furnishings and
room interiors. Make certain that all staff knows where the supplies are stored.
Decide who will be first and second in charge in the event of an
emergency. Make certain that staff members understand their re-
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sponsibilities when disaster strikes. Procedures, even the most obvious ones, need to be carefully spelled out in the plan. Panic
born from unexpected disasters can cause humans to think and
act irrationally. However, having a step-by-step set of procedures
will help.
Test the plan by conducting drills for various types of emergencies. Drills will help staff to understand the emergency program.
Rehearsals can include training in the use of fire extinguishers,
first-aid and lifesaving techniques, locating and closing down
building utilities, evacuation of personnel and visitors, and removal of collections to safe locations.
Work with other museums in the area to create a network of help
and resources in case of emergency. There is greater strength in
fighting the aftermath of a disaster if museums agree to combine
their expertise and to work together.
Know what to do after the disaster. Have a network of people
and services to contact to assist in cleanup and post-disaster conservation and restoration for both collections and buildings.
List emergency phone numbers.
Fire Prevention, Detection, and Suppression

Fire poses a major threat in the historic house museum. It can destroy the entire collection and furnishings, as well as the museum's
very structure. As with other methods of protection, prevention is
the best possible defense against fire.
Staff and volunteers must know what to do to prevent fires, and
they must understand proper safety procedures. Time and effort
should be spent instructing staff on visitor evacuation, use of a fire
extinguisher, and collections salvage methods. Invite the local fire
department to inspect the building and make recommendations on
updating fire protection and safety. Personnel from the district fire
station should be familiar with the museum; this will help immensely in case of fire.
Fire drills are a serious matter, and all museum personnel must
know their responsibilities and how to carry them through. It is
recommended that staff work with the local fire department in determining the most expedient evacuation procedures. Fire drills
should be held twice a year and assessed for efficiency after each
one.
There are strategies that are very effective for fire prevention.
Keep the museum scrupulously clean, uncluttered, and free from

debris. Keep all combustible materials away from heat sources,
and place flammable liquids and materials in proper metal storage cabinets (those that meet the fire code). Consult your state
Occupational Safety and Health Administration (OSHA) office
for information on safety standards and procedures for public
spaces.
Enforce no-smoking rules in areas that are sensitive and present
the threat of fire. Never allow smoking in collections areas, exhibit spaces, shops, or areas where machinery is stored or utilities
are located.
Keep exits, stairways, and corridors free from obstructions. Be
sure that fire exit signs are well lit to aid in emergency evacuations.
Contact your local fire department to assess your building and
make recommendations on the number and types of fire extinguishers best suited to your building. There are three classes of
fire: those involving (1) ordinary combustible material or (2)
flammable liquids, and (3) electrical fires. Each must be doused
with the proper extinguishing agent. (Extinguishers can be purchased from suppliers of fire-protection-equipment.)
Use an appropriate number of smoke detectors in the building.
Contact your local fire department for its recommendations about
the number to use and the best placement for them. (For more
information about smoke detectors, refer to the following section.)
Conduct periodic checks of fire extinguishers and smoke and heat
detectors.
Have electrical wiring checked regularly by a qualified electrician.
Old, outdated wiring should never be used to carry more electricity than it was designed for. Discuss the electrical needs of the
staff, and define the realistic capabilities that can be placed on
the existing system.15
Check heating systems and hot-water equipment regularly to ensure that they are functioning properly.
Make certain that key staff are familiar with the museum's structure: building materials, construction techniques, and location of
all utilities. Keep an extra set of blueprints on hand.
Be sure that all workers who enter the museum observe the firesafety procedures and regulations used by the museum staff.
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Always keep a duplicate set of the museum's catalog off the site
in the event of fire. At the museum, store collections records in
a fireproof steel cabinet or vault.
Fire Detection
As public buildings, museums are required to have an early warning system that complies with the National Fire Protection Association (NFPA) standards and local fire codes, and they must be inspected regularly. Also, as institutions that preserve our cultural
and historical heritage, the buildings should be well equipped with
fire-protection equipment. The sophistication of the detection and
extinguishing systems will depend upon the museum's needs and
their cost. Automatic detectors trigger an alarm when smoke or
abnormally high temperatures are detected. Detectors should also
be wired to alert a monitoring stationthe local police or fire station or commercially operated centers.16
There are two basic types of smoke detectors: photoelectric and
ionization. Each works on a different principle. Photoelectric detectors have a lamp that shines a light beam just out of direct view of
a light-sensitive photoelectric cell. With the introduction of smoke
particles, the beam of light scatters and some of the reflected light
is detected by the photocell unit. As more particles enter, more
electricity is generated, and when the particles become dense enough
the alarm is activated. Photoelectric detectors work well in the presence of smoke and smoldering fires. These devices must be "hard
wired" to a permanent electrical supply and usually have a battery
backup to keep them operating in the event the power goes out. 17
The ionization detector uses a small amount of radioactive substance to create ionized air. When smoke particles enter the detector they disrupt the flow of electric current to the point that the
alarm sounds. Ionization detectors require little power and can run
easily on batteries; they will work even during a power failure. 18
Another automatic detector is the thermal, or heat detector,
which operates by detecting rising temperatures in a room. When
a preset temperature is reached, an alarm is triggered. Heat detectors are useful as a backup to smoke detectors, but they should not
be used alone; they do not detect smoldering fires that emit smoke
and little heat but may release poisonous gases. Heat detectors work
well in areas such as furnace or boiler rooms and attics.
Because they are activated by different conditions, smoke and
heat detectors should be used together in varying combinations. Be

certain that the photoelectric detector has a built-in battery backup
in case of power outage. Batteries in all types of detectors should
be checked and replaced routinely.
Fire Suppression
House museums, because of their nature, also require protection
from fire: a fire-suppression system. Museum staff may feel secure
after installing the proper number of smoke and heat detectors
throughout the historic structure. But if a fire-alarm sounds, someone must be present to hear it, report the fire, and attempt to extinguish it. If the alarm is tied to a monitoring station, time is lost
as the fire team is being dispatched. Meanwhile, the collections and
building burn. With a fire-suppression system in place, immediate
action may be taken to extinguish the fire.
The two most commonly used automatic fire-suppression systems are gas-suppression and water-sprinkling systems. Gas
suppression has been used successfully in collection areas for many
years. An advantage to the system is that no water is introduced
into the area, thus avoiding damage to historic rooms, collections,
or furnishings.
Unfortunately, the Halon gases used in suppression systems and
in hand-held extinguishers contain flourohalocarbons, substances
linked with depletion of the ozone layer of the earth's atmosphere.
For this reason Halon does not have a future as a fire suppressant;
in fact, production of the gas is now restricted. Therefore, museums are left with only one viable option for fire suppression: watersprinkling systems. Automatic sprinklers can work well in a variety
of areas since there are several types from which to choose.
WET-PIPE SPRINKLERS
Recommended for areas where people work and gather, the wetpipe sprinkler, activated by heat, is the most common and least
expensive system in use. The pipes, which are mounted on the ceiling, are constantly filled and automatically release water if a fire
breaks out. The system should not be used in areas where there is
danger of the pipes freezing or of mechanical damage to the pipes.
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A drawback of the wet sprinkler is accidental discharge and the

water damage that follows. But this happens only rarely.
DRY-PIPE SPRINKLERS
The pre-acting, or dry-pipe, sprinkler system is more expensive

than the wet-pipe, but eliminates the possibility of water damage
from broken or frozen pipes or from accidental release of the
sprinkler heads. Water is not discharged into the pipe until heat
and smoke activate the system.
FLOW-CONTROLLED OR ONOFF SPRINKLERS
The flow-controlled system is well suited to gallery and collection

spaces. Like the other systems, it is activated by heat, dispensing
the minimum amount of water needed to extinguish the fire; then
the sprinkler heads shut off automatically. If the fire reignites, water
is again discharged. This system avoids the problems caused by a
spray of water that may continue until fire fighters have shut off
the system manually, which may not happen until long after the
fire is out.
While protection of human life is paramount in making a historic
building fire safe, consideration should also be given to installing
fire and security devices in such a way that they have a minimal
impact on the historic structure. The publication Fire Safety Retrofitting in Historic Buildings by the Advisory Council on Historic Preservation offers suggestions for treatments of specific areas within
historic buildings as well as examples of the successes of the union
between safety and preservation.
NOTES
1. Ralph H. Lewis, Manual for Museums (Washington, D.C.: National
Park Service, 1976), p. 282.
2. William A. Bostick, "What Is the State of Museum Security," Museum News 46, no. 5 (1968): 17.
3. G. Ellis Burcaw, Introduction to Museum Work, 2d ed. (Nashville, Tenn.:
American Association for State and Local History, 1983), p. 105.

4. Bostick, "State of Museum Security," p. 15.
5. The Thomas Register can be purchased through the Thomas Publishing Company, One Penn Plaza, New York, New York 10001, (212)
695-0500.
6. Tamper-Pruf Screws, 8800 T E. Somerset Boulevard, Paramount,
CA 90723, (213) 531-9340. There is also a New York-based company
that manufactures only security screws: Tamperproof Screw Company,
Inc., 30 Laurel Street, Hicksville, New York 11801, or call (516) 9311616, extension 400.
7. Jack Leo, "How to Secure Your Museum: A Basic Checklist," History News 35, no. 3 (1980): 10.
8. Ibid., p. 10.
9. Marilyn Phelan, Museums and the Law (Nashville, Tenn.: American
Association for State and Local History, 1982), p. 60.
10. Phillip Babcock, "Ready for the Worst," Museum News 69, no. 3
(1990): 50-54.
11. Evan Roth, "Romania's Revolution Rocks Museums, TooEor Good
and 111," Museum News 69, no. 3 (1990): 25.
12. Joy B. Dunn, "The CALM before the Storm," History News 45, no.
1 (1990): 22-24.
13. Babcock, "Ready for the Worst," pp. 50-54.
14. Ibid., p. 50.
15. Joseph Chapman, "Fire," Museum News 50, no. 5 (1972): 33.
16. The ASIS Standing Committee on Museum, Library and Archive
Security, Suggested Guidelines in Museum Security (Arlington, Va.: American
Society for Industrial Security), p. 6.
17. "Smoke Detectors," Consumer Reports 41, no. 10 (1976): 555.
18. Ibid.
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10
Telling the Story:
Interpreting
the Historic House
Tho' the pipes that supply the bathroom burst
And the lavat'ry makes you fear the worst
It was used by Charles the First
Quite informally
And later by George the Fourth
On a journey North.
Noel Coward, "The Stately Homes of England"
AFTER THE HISTORIC house has been saved and restored, its financial future secured, the collections organized and documented, it is
time to concentrate on interpreting the house. But what is "interpretation," and how can it be accomplished in a way that presents
historical information accurately, holds the visitor's interest, and
meets a sound educational objective?
Interpretation, the structure in which information about the
historic house is presented, is an attempt to stimulate the senses
and arouse the imagination. It can be an interchange with a costumed interpreter portraying a pioneer woman churning butter. It
is the realization that the butter that she is making looks, smells,
and tastes like the unsalted butter one buys in grocery stores today.
From the experience the visitor understands a number of historical
realitiesthat the methods of food preparation in the past may be
strikingly different from those used today, that butter making, a
labor-intensive task that was usually performed by women, that pi-
Good interpretation is a way of educating visitors in a stimulating and thoughtprovoking manner. At Old Salem Restoration, costumed interpreters demonstrate domestic skills as they hang out freshly scoured wool behind the Vierling House. (Photograph courtesy of Old Salem Restoration, Winston-Salem, North Carolina)
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oneer women depended on their own labor for self-sufficiency, and

that butter was a significant part of the diet then, just as it is today.
Such a demonstration helps visitors to connect with the past
and to learn what life was like for a particular family or in a particular era. Enjoyment of the ambience of the historic house is augmented by sensing past traditions, folkways, and customs that were
a part of America's history.
The interpretive approach should aim to be multifaceted and
broad in scope but not unfocused or confusing. It should capture
the true characters of those who lived at the historic site. If possible, try to incorporate the personalities and views of servants, slaves,
gardeners, handymen, chauffeurs, neighbors, and even the minister who dined with the family every third Sunday.
In interpreting an event that took place at the site, try to enlarge the focus and expand the associations. Explain the dramatic
events that led up to it and discuss the people involved. Then, explain what life was like following the event, describing how it affected not only the "famous" people but those whose views are seldom heard. Try to shed light on how the event might have changed
future views, products, language, behavior, politics, economics, law,
and geographic delineations.1
Types of Historic House Museums

Thousands of historic house museums are open to the public and
each one attempts to educate visitors in one of three primary ways.
They fall into a few categories. as follows: 2
The Documentary Historic House Museum
By far the most common type of historic house museum in the
United States is that which commemorates a rich or famous individual or familya town's founding father, a celebrated writer, a
former U.S. president, or an industrial magnate. The primary interpretive aim is to chronicle the life of an individual or relate an
important historical event. Some of these museums, such as the
grand estates of Thomas Jefferson and Henry Flagler (Florida's
real-estate tycoon and railroad builder) give a view of elitist society.
Others are more modest, such as Noah Webster's simple four-room
saltbox farmhouse in West Hartford, Connecticut, or Betsy Ross's ur-
Telling the Story: Interpreting the Historic House
ban, artisan-class brick home in Philadelphia. Each of these houses

not only provides a glimpse into a famous person's life but also
shows how various social classes might have lived at the time.
Some of the most famous documentary sites are Colonial Williamsburg and George Washington's Mount Vernon in Virginia,
the Abraham Lincoln Home in Springfield, Illinois; Edgar Allan
Poe's home in Baltimore; Helen Keller's childhood home in Tuscumbia, Alabama; and Clara Barton's home in Glen Echo, Maryland.
The Representative Historic House Museum

Some historic houses have been restored to interpret a particular
style of architecture from a particular period. They are exemplified by the southern antebellum plantation (often used to portray
the life-styles of wealthy landholders), by wayside inns, or by pioneer log cabins. The focus is on a way of life rather than on a
particular individual or family. Good examples of representative
house museums are the Botsford Tavern near Detroit, Michigan,
which depicts a mid-nineteenth century home and inn, and the
houses built during different times in such well-known historic villages as Old Sturbridge Village in Sturbridge and Plimouth Plantation in Plymouth, both in Massachusetts; the Henry Ford Museum and Greenfield Village in Dearborn, Michigan; and Old World
Wisconsin in Eagle, Wisconsin.
The Aesthetic Historic House Museum

The historic house that serves as the setting for special collections,
where decorative and fine arts, furniture, and antiques from various periods are displayedmay be classified as "aesthetic." The
house serves as a backdrop for the objects, with no particular attention paid to former residents or the events that took place there.
Houses of distinctive architectural design also fit into this category.
The Taft Museum, located in a Federal-period house in Cincinnati,
places emphasis on its collections of fine art and furniture, not on
the period rooms themselves. The most famous museum of this
type is The Henry Francis du Pont Winterthur Museum in Wilmington, Delaware. In the multitude of rooms collections of fur-
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186
niture and decorative arts are displayedobjects all appreciated for

their own merit.
Combinations of the Three Types
Not all museum houses neatly fit these categoriesoften they combine two or even three purposes. Take, for example, the home of
the famous scout Kit Carson. His adobe house, at first glance, may
be classified as a documentary site because three rooms of the
dwelling are furnished as they were when Carson lived there with
his family during the mid-nineteenth century. The remaining rooms,
however, are set up as a museum that displays artifacts from Native
American and Spanish and American settlers of the region. These
displays portray the ways in which people lived in New Mexico's
past. This museum also would be considered a representative site.
Another hybrid is the C. M. Russell Museum in Great Falls,
Montana, dedicated to the painter of the American West. The museum consists of three buildings: Russell's studio, a documentary
site; the house where he lived after he marriedwhich, because it
contains few of the original furnishings might be classified as a representative site; and a modern museum building that houses many
of Russell's worksa clear example of an aesthetic site.3
Many historic house museums also serve as the headquarters
for historical societies or as local and ethnic museums. They, too,
combine one or more of the types of sites in their interpretive programming. Consider the American Swedish Institute, located in the
Swan J. Turnblad mansion in Minneapolis, Minnesota. This historic house museum seeks to interpret the traditions of Swedish
immigrants. Interpretation at the institute endeavors to tell the story
of the original owner and founder of the museum (documentary),
to show elegant interiors with works of art created by Swedish immigrant artists (aesthetic), and to explain the Swedish immigration
period with displays of artifacts (representative).
Preparing an Interpretive Program
To begin planning an interpretive program, it is suggested that the
curator and staff return to the mission statement. A rereading of
this document allows them to focus on the true function of the
museum. In addition, the curator will need to decide how to com-
The American Swedish Institute is a Swedish ethnic museum and cultural center
housed in the Swan J. Turnblad mansion. Turnblad, a Swedish immigrant, built this
miniature castle in 1904 to display his newly achieved wealth and status. (Photograph
courtesy of the American Swedish Institute)
municate the museum's mission. To accomplish this, the museum

must define its goals and objectives. The goals will be defined in
general terms; the objectives should be the specific course of action. The end product will be a document that states what the interpretive program will teach the visitor and how these goals will
be carried out.4
After the objectives have been established, write the interpretive program, basing it on historical facts about the house gleaned
from documents, photographs, diaries, journals, local records, oral
histories, and the like. Collect the facts carefully, always focusing
on the topic, and plan techniques for communicating ideas to visi-
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tors. Avoid presenting a romanticized view of the house and the

events surrounding it, or elevating the former residents to the stature of "great men or women." Try not to cover too many ideas
and, for the most part, avoid those that are not solidly linked to
the main thesis of the museum. Too much information can cause
visitors to feel confused and disoriented, and they may leave without understanding why the house was significant enough to be saved
or restored.
A thorough understanding of the commonly held thoughts and
views of the time period being interpreted will enable the museum
staff to create the most accurate interpretation. Many questions must
be asked to fill out the story of the house.
What were the roles of the residents (family) of the house in the
community? How did they relate to neighbors, servants, or workers?
What was their economic status? Did it change over time? If so,
what forces enabled wealth to be accumulated quickly or lost rapidly?
What were their social values and political views and the extent
of their involvement?
How were they connected to the local church or synagogue, and
how did their religious beliefs connect them to other people in
the community?
What were their kinship patterns? Did they live in a nuclear unit,
or did several generations reside in the house? What were the
reasons for this pattern?
How did they entertain? What clubs did they belong to? Were
they listed in the social register?
What do the living spaces in the house reveal about the residents?
Are there public spaces and private spaces? Did their religious
views affect the arrangement of furnishings?
Were children's rooms or areas adjacent or close to adult spaces?
Was the arrangement different from or similar to today's patterns? What did it indicate about the culture?
What levels of technology were at work during different stages
of the house's history and what effect did the changes have?
What event(s) took place at the site? What effect did they have
on local, state, or national history? What mark's did they leave on
the house and its surroundings?
What is the architectural style of the house? Why was it chosen?

How did it come to be used in this region?
How did the style of the house fit into the surrounding community? How was the house furnished? What does this information
tell about the values of the time?
What were the common decorative styles during the period(s)
represented? What do they indicate about the people who furnished the home?
What was the style of the gardens and plantings of the grounds?
What influenced the designs?
How did the craftsmanship and artistry of the period compare to
that of today? What changes in technology have caused transformations in the way furnishings were made?
What is the aesthetic focus of the museum? What does this style
reflect of the times, attitudes, culture, social views?
The Importance of Historical Accuracy

An accurate account of the history of a house or its residents is
necessary for sound interpretation. Whether it be a resident's political life, a historic event that took place at the site, or the history
of the house itself being unraveled, the story must be grounded in
and related to solid fact. Unfortunately, the fiction that surrounds
historic houses is sometimes passed on as fact in interpretive programs. Such fiction may be entertaining to the visitor, but only serves
to undermine the integrity of the historic house.
But where does one find out information about a house, its
builders and its residents? How does one learn more about the history of a community? How do you separate fiction from fact, local
legend from reality? Where do you start?
Conducting Historical Research
Begin historical research by heading to government offices, public
libraries, and historical societies. All information collected, including photocopies of documents, should be kept in a notebook that
can later be used by the museum staff. Maintain a bibliography of
all sources used in research. This is valuable information that will
be used again and again.
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PUBLIC RECORDS
Public records are an excellent resource. They are most often located at the county courthouse and can contain a wealth of pertinent information.
Vital statistics, such as records of marriage and divorce, births
and deaths, and adoptions.
Probate records, including such documents as wills, deeds, estate
proceedings, and possibly inventories of household articles from
disposition proceedings.
Legal descriptions of property, abstracts of title, mortgages, plat
maps, and information related to real estate, including early
property tax records. (Tax records contain changes in ownership
and reveal the value of property over time because of improvements made to the property.)
Records of lawsuits.
In larger communities, building permits and building index cards,
which list all the permits issued for a structure, can be found at the
inspections department in city offices. These cards often include
details such as the architect, builder, owner(s), dimensions, and
original costs and may contain information on the original construction of a building and later additions and modifications.
LIBRARIES AND ARCHIVES
County libraries and archives offer such resources as city directories, newspapers, written histories, obituary files, biographies of
prominent individuals, address files, and photographs.
City directories list alphabetically (although not always completely) inhabitants of a city. In larger communities, listings are updated annually. Individual listings may include race, occupation,
number and names of family members, and home addresses.
Newspapers offer valuable clues on the activities of prominent
people, the tastes prevalent at the time, and how people were furnishing their homes. Turn-of-the-century newspapers, for example, held descriptive advertisements of real estate, and society
pages often described new residential construction.
Photographs are a good resource for those conducting histori-

cal research. Besides showing how homes appeared on the outside
and in association to neighboring buildings, they provide insight
into how people furnished their homes and how they utilized space.
Photographs also offer a look at the clothing of the periodeveryday apparel, ceremonial costumes, military ensembles, and club regaliavisual documents that can help to associate individuals with
organizations, clubs, fraternities, professions, and different levels
of military involvement. Even relationships between individuals might
be gleaned from photographs.
Photos can be found in the collections of family and individuals
who have been connected to the house, in state and local historical
society archives, and in special collections in public libraries.
COUNTY, LOCAL, AND STATE HISTORICAL SOCIETIES
County and state historical societies often hold family histories and
written histories of the region, personal records on individuals, and
newspaper clippings pertaining to residents and events of the time.
Company records, documents and artifacts from regional clubs,
naturalization records, early state and federal census reports, and,
occasionally, architectural drawings may also be found in the collections of historical societies.
For a study of period house plans and interior design, refer to
such magazines as House Beautiful, House and Garden, and Better Homes
and Gardens, as well as mail-order catalogs, which can be found in
historical society archives and libraries. Some publishers, such as
Dover, reprint house plans and pattern books from earlier eras.
ORAL HISTORIES
Interviews can also shed light on questions pertaining to a historic

house, its former occupants, and events that took place there. Such
encounters can tap memories of the old-timers of the neighborhood, descendants of a family, or an individual's co-worker. An
inquiry around the neighborhood may turn up some interesting
information. Members of the same social groups or church may
offer insight into an individual's life, and former domestic employees, even the surviving family of former business partners, can provide a glimpse into a personality.
When seeking an interview, prepare questions carefully and in
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advance. Cross check the information collected with facts already

known to gauge the respondent's accuracy. Individuals remember
incidents differently, so be cautious when collecting oral histories
and be critical in assessing them.
Studying the House and Its Contents

The house itself may contain documents packed away in an attic or
in empty rooms. Search for personal records like diaries, journals,
daily record books, household account books, travel accounts,
scrapbooks, photograph albums, newspaper clippings, delivery receipts, postcards, correspondence, and receipts of furnishings and
household objects purchased for the home. Question the most recent residents about old records; perhaps they have uncovered
something or know where to look. Try to locate any remaining
descendants of the original residents; they may have documents,
photographs, or letters pertaining to the family.
William Seale, in Recreating the Historic House Interior, suggests
looking at archival collections from other properties of the same
period and in the same area. Local household inventories, he notes,
reflect the tastes of an era and can contribute to the understanding
of similar houses and their contents.
In creating an interior intended to represent a specific time,
culture, or geographic region, it is important to investigate the kind
of furnishings that would be appropriate. Illustrations in books,
old magazines, catalogs, and advertisements in period newspapers
and magazines depict house interiors as they appeared through time
and may reveal distinctive regional or ethnic design elements.
The museum may want to hire an experienced researcher to
conduct the investigation, such as a local historian, a history professor from a nearby university or college, or a graduate student
trained in history or historic architecture. The state historical society will probably be able to supply names of professionals familiar
with records in your area. Or contact the state historical preservation office (SPHO) for a referral to a skilled house historian.
When searching for clues about the physical structure of a
building, study both the interior and the exterior carefully. Open
closets, peer behind fireplace mantles, and inspect window ledges
for traces of original colors or wallpapers. Chip paint fragments
from walls and ceilings, and have them analyzed to learn what colors were stylish during various stages of the home's occupancy. Study
Period room settings take many forms, from modest to elaborate. This ornate dining
room at Lyndhurst in Tarrytown, New York, was designed by A. J. Davis (1864
1867). (Photograph courtesy of Lyndhurst, a property of the National Trust for Historic
Preservation)
wear patterns on floors, doors, and walls to help determine how

life was lived in a house. For example, look for holes in floors where
wall-to-wall carpets were laid or where a rug may have been tacked
down.
Record in a notebook all information that is uncovered in the
house; draw diagrams and mark anything found that may be useful in reconstructing the original interior. Everythingfrom holes
in walls to placement of moldingsshould be recorded. Once such
information is on paper, patterns will often appear.
Scrutinize the building for modifications in its original structure, and look at architectural drawings and photographs for evi-
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dence of alterations. Or consult a restoration architect to determine

the character and date of the house. This specialist will be able to
determine ifand usually whenwalls were torn down, windows
walled up, porches removed, or features added. The techniques
employed include X-ray technology to analyze the basic structure,
hardware chronology (studying the composition and form of nails,
screws, and so forth to ascertain dates), and dendrochronology (treering dating; matching a wooden beam, for example, against a series
of tree-ring dates to determine its age when cut). The restoration
architect also uses blueprints, documents, and historical records to
assist in understanding an historic structure and how it has changed
over time.
Archaeological excavations at the Brush-Everard House, Colonial Williamsburg, Williamsburg, Virginia. (Photograph courtesy of the Colonial Williamsburg Foundation)
Refuse left by past peoples, excavated from around a dwelling, can shed light on their
life-style, level of technology, habits of leisure and work, and building styles. Here
specialists analyze archeological materials found at Colonial Williamsburg. (Photograph courtesy of the Colonial Williamsburg Foundation)
Archaeology
The grounds of historic houses may have included outlying buildings. It is expensive, but prudent, to hire historical archaeologists
to excavate in order to uncover locations of previous structures and
their floor plans. Archaeologists usually unearth household artifacts. Dishes, bottles of all sorts, pipe fragments, shells, nails, and
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other everyday objects that were lost or cast aside can be dated by
their style and composition. These were days when refuse was
dumped into pits dug not too far from the back entrance or kitchen
door of a dwelling. Materials uncovered from excavating can fill
many gaps in the historical record.
Deciding on an Interpretive Approach

After research is completed, the staff will need to decide how to
use most effectively the information collected. How will they go
about explaining a celebrated individual or the dramatic historical
event that took place at the site? What will be interpreted? Which
rooms should be restored or re-created as period rooms, and which
might hold exhibits? Will the staff include an overview of the family and highlights of different people who have lived and worked
at the house? Or will exhibits portray trends of a particular time in
history?
Restoring Period Interiors

Many visitors go to historic houses to savor the feeling of historical
surroundings and to admire the furnishings of the interiors. They
enjoy the sense of being cast back in timeof strolling through
rooms essentially frozen in the past.
Restoring or re-creating historic period rooms is an exacting
task that, unless all the original furnishings are still in place, requires considerable research, planning, and financial resources.
Historic interiors are usually represented in two ways. The first
involves the use of objects that actually belonged to a specific individual or were being used at the time that person was memorialized. This approach is most often taken at documentary sites. It is
the most difficult type of interior to create because personal furnishings are often dispersed after an individual dies.
An outstanding example is the Alexander Ramsey House in St.
Paul, Minnesota. Ramsey, the first territorial governor of Minnesota (1849-1858), expressly willed his Second Empire Victorian home
to the state. His granddaughters lived in the house until their deaths
in 1964, when it was turned over to the Minnesota Historical Society. Because the family knew that the house would one day be open
to the public, they preserved everything that belonged to their forbearsoriginal furnishings, correspondence, even Governor Ramsey's diary, in which he recorded all the purchases for his home.
These documents provide insight into the family's daily life in the
days before Minnesota became a state.
The house itself is remarkably preserved. Most of the furnishings, from the largest pieces of furniture to the smallest accessories
belonging to the Ramseys, are in place and are a solid representation of the late Victorian period.
Another example is the home of James J. Hill, founder of the
Re-creating historic rooms is an exacting task that requires considerable research,

planning, and financial resources. Pictured here are the living quarters of the innkeeper and his wife at the Salem Tavern, built in 1784. (Photograph courtesy of Old
Salem Restoration, Winston-Salem, North Carolina)
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The Alexander Ramsey House in St. Paul, Minnesota, is typical of the Second Empire
Victorian Period. (Photograph courtesy of the Minnesota Historical Society)
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Great Northern Railroad. Few furnishings, however, remain from

the days when Mary and Jim Hill and their children lived in the
forty-five-room, Richardsonian Romanesque mansion. The Minnesota Historical Society, which owns and operates this massive
sandstone mansion, elected to leave rooms unfurnished where no
original pieces exist. At the Hill House, the interpretive focus is
explaining the social and technological systems of the household.
Guides, as they lead visitors through the house, discuss the family's
life, its relation to the community, servants' roles, and the ingenious mechanical, electrical, and security systems, which were the
best of their day. The interpretation is scrupulous, with every detail thoroughly researched before being incorporated into the tour.
The tours, in fact, are so successful, so compelling, that the visitors
often leave believing they have seen much more than is actually
Costumed interpreters at the Alexander Ramsey House in St. Paul, Minnesota, demonstrate the complexities of Victorian dressing to schoolchildren. (Photograph courtesy
of the Minnesota Historical Society)
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The stories of the "common person" who worked and lived at a house are also important to its history. Pictured here are the stonemasons who built the James J. Hill
House, in St. Paul, Minnesota. Swan Pearson, standing with his arms akimbo, received $4.50 a day for his work as general foreman. (Photograph courtesy of the Minnesota Historical Society)
present. The past has come to life, even though the rooms are
sparsely furnished or empty.
The second approach to historic interiors is one in which the
furnishings are representative of the originals or those that may
have been used. These can be reproductions or actual furnishings
typical of a particular time period or geographic region, but not
necessarily linked to a particular family. Such rooms are easier to
create because the furnishings can be collected from a wider range
of sources. Or rooms can be furnished with objects that represent
the most beautiful and finest, brought together with an emphasis
on high quality. Period rooms such as these are common to representative and aesthetic type of historic houses.
Take for example, Strawbery Banke in Portsmouth, New
Hampshire, a historic site with forty-two houses that range from
the seventeenth to the twentieth century. To furnish them, curators search the New England region for objects they have found
listed in deeds and other documents associated with the houses. In
At the James J. Hill House, in St. Paul, Minnesota, the lives of many former servants
have been researched and included in a thorough interpretation. Pictured here are
Lena Olson (left), the Hills' head cook, and Celia Tauer Forstner (right), the cook's
helper (1910-1911). (Photograph courtesy of the Minnesota Historical Society)
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At Strawbery Banke in Portsmouth, New Hampshire, the Walsh House (built in

1796) is one of forty-two historic houses at this "representative" site, showing lifestyles from the seventeenth to the twentieth centuries. (Photograph courtesy of Strawbery
Banke, Inc.)
addition, archaeologists' finds help to fill in blanks. At one house,

archaeologists uncovered fragments of tableware used by its former inhabitants. Curators at Strawbery Banke were surprised that
they had tableware of the same design in their own collections. The
tableware was moved to the house and is displayed there.
The two types of historic interiors described above are general
classifications. Overlap does exist. For example, if few original furnishings remain at a documentary site, it is not uncommon for curators to choose to fill in the museum's period rooms with reproductions or furnishings similar to those originally used. If this
method is used, it is important to inform visitors that the furnishings displayed were not actually used by the family, but represent
the kinds of objects they might have had.
This approach is taken at the Will Rogers Birthplace, near Oologah, Oklahoma. This ranch was the birthplace of the famous humorist, performer, and newspaper columnist. Until he was nineteen Rogers, born in 1879, lived in the two-story clapboard home
his father built and, although he traveled widely, remained connected to the property and purchased it after his parents' death.
Rogers was killed in a plane crash in 1935, leaving the ranch to his
wife and three children, who deeded the home to the state of Oklahoma in 1959. In 1932 most of the pieces belonging to Rogers
were destroyed in a fire.
It was the curator who decided that, instead of leaving the period rooms empty, the house would be more effective if it was filled
with furniture similar to the originals. Consequently, furnishings
An interior of an early-nineteenth-century home owned by Stephen Chase, a well-todo merchant from Portsmouth, New Hampshire. The room provides a glimpse into
the era, region, and social standing of the Chase family by revealing facts about
foodways, decorative preferences, level of technology, and personal interests. (Photograph courtesy of Strawbery Banke, Inc.)
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The desk of Washington Irvinga gift from his publisher G. P. Putnamis significant because of its association with the famous man. (Sunnyside, Historic Hudson Valley, Tarrytown, New York)
from the late nineteenth and early twentieth centuries have been
collected. Friends and relatives were also generous in contributing
objects Rogers had given to them.
This house museum, although a documentary site, relies on objects representing the periodand not those originally usedin
order to create an atmosphere similar to that of Will Rogers' time.
In the restoration of an interior belonging to a specific individual or one created as the essence of an era, it is essential to interpret truthfully. If the owner of a house was a scholarly man who
owned a large library, it is important to reflect this aspect of his

personality as part of the visitor's experience. If diaries and oral
histories reveal that the books were often piled in stacks on tabletops, shelves, or the floor next to a favorite chair, then they should
be displayed in stacks or strewn about. It would be inaccurate to
interpret the library as uncluttered.
Curatorial staff should put aside their modern views and ideas
about space, arrangement of furniture, color, design, and style when
they re-create period rooms. The house should be viewed as its
The North Room of Theodore Roosevelt's mansion reflects his interests and personality through his books, hunting trophies, political gifts, artwork, and furniture. This
room was added to the home in 1905 to accommodate the many distinguished visitors
and heads of state while Roosevelt was president. (National Park Service, Sagamore
Hill National Historic Site, Oyster Bay, New York)
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Toys carefully arranged to look strewn about, giving the impression of a room played
in by children. The John Vogler House "Boys' Room," where Vogler's sonsTimothy,
George, and Nathanaelslept. (Photograph courtesy of Old Salem Restoration, WinstonSalem, North Carolina)
occupants would have used it. If there were children, it is important to show their toys strewn about as if they had been playing. If
the children slept with their parents which they often did in the
eighteenth and nineteenth century, show this by placing the children's belongings in the bedchamber and explain to visitors why
this was the custom then and why it is different today.
Be truthful about the arrangements of objects in a room. Let
dust pile up in corners if it is deemed appropriate for the time
period and cultural views of the family. Today's sterilized interiors
are a fairly modern phenomenon. Stack pots, pans, and utensils on
the stove or tabletops if they were kept in this way. Hang coats and
hats on chair backs, or place them on tables. Burn candles down,

toss a newspaper in a favorite chair, or leave boots lying about on
the floor for authenticity.
Alternative to Period Rooms:

Using Exhibits in the Historic House
Some historic house staff will be frustrated in their attempts to establish an interpretive program because of the lack of historic records, photographs, and original furnishings in the house. Part of
the problem can be solved by installing theme exhibits in rooms
where no original furnishings exist or in areas of the house that
are not original. Exhibits can also be combined with existing period
rooms to create a multidimensional interpretation of the house.
An example is the Summit County Historical Society, housed in
the Perkins Stone Mansion in Akron, Ohio. This historic house is
used as the setting of an exhibit called "Rites of Passage," which
focuses on the major events in people's lives in the late nineteenth
and early twentieth centuries.5 The interpretive approach portrays
the social transformation of Akron from a predominantly rural to
an urban society through the perspective of rites of passage such
as weddings and marriages, childbirth and death, and mourning
customs.6 Nine fully furnished period rooms of the house are displayed as they would have been when the Perkins family celebrated
one of these rituals.
In the parlor, the wedding celebration of a wealthy family is
reflected by costumes, accessories, and an overabundance of greenery and garlands. Wedding gifts typical of the turn of the century
are displayed in the dining room. In a front hall and another parlor, both draped in black crepe, mourning costumes and paraphernalia are displayed, as well as funeral furniture such as kneelers,
votive lamps, guest register stand, and embalming tables. Details
are treated with ingenuityan enlarged photograph of a period
photo depicts a turn-of-the-century wedding cake, and funeral
flowers are reproduced based on photos from the period. In these
heavily adorned rooms, interpreters discuss trends of the times,
such as consumerism, class consciousness, and changing social views
and attitudes.7 Visitors are able to enjoy the historic house setting
while learning about the social history of Akron at the turn of the
century.
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Interpretive Techniques
There are many interpretive techniques available for historic house
museums, and many combinations of them can be used. The techniques selected will depend on the resources available such as money,
staff, and time. Some of the more common techniques and tools
are listed here.
Brochures and Pamphlets
The most basic interpretive tool is a written description of the historic site. Whether the museum is organized as self-guided, with
descriptive labels in each room, or is fully staffed by interpreters,
a general brochure that serves as introduction and souvenir is essential.
Site Orientation
Museums will often have guides stationed at the main entrance to
orient visitors before they are greeted by a tour guide or go off on
a self-guided tour. The overview can be a verbal recitation of the
house's history or an informative videotape or slide show.
Self-Guided Tours
Self-guided tours are usually assisted by a brochure that includes a
brief history of the house and its residents and a room-by-room
description. Visitors set their own pace, spending time in areas that
interest them and passing over those that do not.
Stationed Interpreters
In many museums, guides are stationed at strategic locations in the
house and grounds to inform visitors about that particular area.
They may, through vignettes, provide insights into the life of the
family and events that occurred at the place. For example, an interpreter stationed in an outbuilding, one that served as slave quarters, might describe some of the realities of slave life or the slaves'
religious beliefs and kinship networkhelping visitors to make the

connection between the setting, the objects, and the people who
used them.
Guided Tours
Trained docents accompany visitors through the house, describing
its residents, period rooms, and exhibits. The tours, which usually
last between forty-five minutes and one hour, are prepared from
scripts and attempt to involve the visitor emotionally.
Demonstrations
Demonstrators portray generic characters and usually wear costumes typical of the period. They perform real tasksweaving cloth,
baking pies, blacksmithing, spinning wool, or weeding a garden plot.
Some involve the public by asking them to participate in the activity. Demonstrators often speak in the first person, an approach that
can captivate the visitors and help them to sense the past. However,
there is always the danger that this approach will see rather artificial. Some historic house interpreters are more comfortable using
third-person speech, finding themselves better able to answer questions and relay information to visitors. A solution to the first- or
third-person dilemma is to combine the techniques, choosing the
proper one according to the situation.
It has been discovered at Colonial Williamsburg, for example,
that the first-person approach works best for craft demonstrations
and for "local color on the street" but works less well in communicating basic information about the site.8 The interpretive staff will
need to experiment in order to create a well-balanced program,
one that is both enlightening and lively.
Role Playing or Character Presentation
In role playing, the interpreter presents a real person (or a composite) who was associated with the site, while demonstrators focus
on performing an activity or task.
Role playing, for example, may involve a chambermaid who describes her experience while living with a family in 1885. Her per-
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A demonstrator at Old Salem Restoration interprets an age-old task, splitting wood.

(Photograph courtesy of Old Salem Restoration, Winston-Salem, North Carolina)
sonality (as the maid) may be a composite of several people who

actually worked at the house, with the information that helped to
create her character extracted from letters, oral histories, and documents. She may be stationed in the wing of the house where she
"once worked," drawing from her surroundings as she relays incidents from the past to the visitors. Role-playing interpreters are
not so closely bound to their location as are demonstrators; they
may wander throughout the museum, while maintaining character.
Such interpreters should wear authentic reproductions of period
costumes and use the dialect of the time, and their speech should
be in the first person.
When role playing involves portraying a particular person, it is
essential that his or her character be well researched, and thoroughly rehearsed before it is presented to the public. It may also
be beneficial to try out the character on family members or friends
to ensure that the "true" personality has been captured.
In some instances, the role of demonstrator and role player are

merged. Take the servant who worked for a prominent family in
the late nineteenth century. The costumed interpreter discusses "her"
life at the house and how she acquired her job as a domestic, her
social standing in the community, how she is compensated for her
work, her religious views, the extent of her education, and what
she might expect to do with her future. She relates this while she
preserves food, washes the family's clothing, or cleans a bedroom.
Living-History Performances
Dramatic skits performed by actors (hired through area colleges or
theater groups) are often held anywhere there is roomexhibit
areas, on the grounds, in the ballroom or auditorium or lounge
area. These presentations are intended to expand the visitors' understanding of the site and may range from a reenactment of an
event (a battle scene or robbery held on the grounds), a special
ritual, or a ceremony that was part of a family holiday (such as a
Hanukkah celebration held in the dining room) to an exchange
between family members about their views on social institutions such
as slavery or working conditions in factories. Costumes are authentic reproductions, and sets can be as simple as a backdrop of a
period room or as elaborate as a stage with props set up in the
museum's auditorium or classroom. After the performance, interpretersand actorsare available to answer questions and to discuss the historical events portrayed.
Lectures, Workshops, and Conferences
Some visitors will be interested in academic interpretation. In offering lectures, workshops, and conferences on topics that deal with
the historic house, its collections, and associated exhibits, the museum enables individuals to explore and study more intensively a
particular area of interest.
Classes for Students
The house museum can also be used as a classroom setting for
students of all ages. There are many ways in which to do this. An
example would be to hold a day-long session for elementary-school
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class during which the pupils wear clothing of the time period and
spend the time learning what life was like in another eraeven in
another social context. They might write their lessons on slates with
chalk and prepare their lunches from foods typical of the time and
region. For college students, a historic house can be an environment where questions about the family as an economic, social, and
psychological unit can be studied. Or classes on architecture, decorative arts, folklife, social history, social and cultural geography,
American studies, archaeology, and museum studies might be taught
by local teachers and professors. For a good source of curriculum
ideas refer to Thomas Schlereth, Historic Houses as Learning Laboratories: Seven Teaching Strategies.
Combining Interpretive Techniques
A combination of several of the interpretive techniques usually works
best for historic house museums. One model for a house museum
might be to implement a variety of interpretive methods during
various times of the year.
Visitors receive a color brochure describing the museum's history while they wait in a gathering area and view a short informative video. Exhibits, which further enhance the understanding of
the visitors, are located in this area or in areas where tours terminate. Next an interpreter dressed in regular clothes leads the group
through the period rooms of the house and the grounds. (In the
past, this museum offered self-guided tours and had interpreters
positioned at various locations around the house.)
On certain days, in this hypothetical museum, however, there is
something more. Costumed demonstrators dressed in reproduced
fashions of the time perform tasks of the early householders, describing their tasks as they work. Role-playing interpreters are also
present. They speak in the first person, and either perform duties
on the spot, like the demonstrators, or wander around the grounds,
speaking with visitors. They never drop their characters! The group
not only is given a firsthand look at what life was like in another
time, but has the convenience of a regular guide who offers a wide
range of perspectives about the house and events that made it significant.
At certain times of the year, the museum offers living-history
performances, in which scenes of life and events that made the
house and family significant are recounted for visitors.
The Interpreters
Training
Interpreters involved in tours, demonstrations, or role playing should
be specially trained by the curator or an interpretation specialist.
They must learn all that they can about their subject so that they
can present a thorough tour and be prepared for the varied questions that will be asked. Visitors will respond to a guide's imaginative explanations during a room-to-room tour of a house, or a lively
exchange with a costumed interpreter demonstrating the day-today tasks of the household.
The museum should keep all the necessary resources on hand
and offer a quiet place for study. Information packets that the interpreter can take home should also be provided. Lectures, workshops, and classes presented by the historians, curators, and museum educators must be considered a staple of the training program.
Guides should be given a written description of the information
the museum wishes to convey to the public. While each interpreter
will have his or her own manner of delivering a tour, it is useful
for everyone to have the same starting point. Guides must also be
kept up to date on new developments at the site. For example, a
newly installed exhibit or a rearranged period room should not be
discovered in the midst of a tour. Such surprises can cause a guide
embarrassment, perhaps creating skepticism in the mind of the visitor. Does the guide really know what is going on?
Demonstrators and role players should be well trained in the
tasks they will be performing or the roles they will be playingin
housekeeping, beekeeping, gardening, sewing and quilting, and food
preserving. All tasks and roles should be practiced and rehearsed
(with performances evaluated) before the interpreter goes it alone.
It has been suggested that when interpreters are playing a role in
the first person, they should receive thorough training in period
speech patterns as well as theatrical techniques in order to portray
historical characters properly.9 As noted earlier, first-person interpretations, if not carefully prepared, risk losing their effectiveness,
actually coming across as hokey. The preparation for this type of
program requires considerable research, training, and administrative support. If time and funds cannot be committed, it is best not
to do it at all.
Interpreters should present their tours (or roles) to other interpreters for constructive evaluations. Occasional visitor question-
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Girls, dressed in period costumes, are learning to sew, based on a sewing class taught
in early Salem. (Photograph courtesy of Old Salem Restoration, Winston-Salem, North
Carolina)
naires at the end of tours can shed light on how well the presentation was received. Self-evaluationusing a tape recorder or a
videotapeis also an effective means of assessment. Interpreters
must modify the tour for the age groups involved. Youngsters, of
course, will need a different presentation than that given to a group
of adults. Be prepared for a variety of ages and try different techniques for each group.
Presentation
It is tedious for visitors to endure a haphazard, fragmented presentation or an expressionless recitation of historical facts. Illprepared, dull presentations will cause visitors to wander away from
the tour, either physically or mentally. Children, especially, will
protest with poor behavior or vocal criticism. On the other hand,

good interpretation will stimulate visitors to ask questions and perhaps draw comparison to their own lives.
Interpreters should speak clearly, establishing eye contact with
visitors. They should convey information with enthusiasm, never in
a condescending or superior tone. When questions arise, they should
be addressed clearly and concisely. If the answer to a question is
not at hand, the interpreter should admit uncertainty, and seek to
have it answered by a curator or site manager at the end of the
tour.10 Unfortunately, some historic houses are so steeped in myth
that it has been difficult to correct misconceptions, and many questions have been left unanswered. Faced with such situations, the
interpreter should state that few historic records are available but
that research continues and, as facts are uncovered, they will be
passed on the visitors.
Costumed interpreters demonstrate pie making in the kitchen of the Alexander Ramsey House, St. Paul, Minnesota. (Photograph courtesy of the Minnesota Historical Society)
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The gardens and grounds of house museums can provide lovely settings for picnics,
wedding ceremonies, and special events. (Lyndhurst, Tarrytown, New York, a property
of the National Trust for Historic Preservation)
Guides should be able to inform visitors about the locations of

necessary facilities, where they can rest, how long the tour will be,
and how far they will have to walk. They must also explain why
artifacts, wallpapers, historic fabrics, silver light fixtures, and other
objects cannot be handlededucating visitors of the importance of
protection and preservation.
When conducting tours, interpreters should explain the lives of
the residents in the way they were actually lived. It is important to
present a balanced view and not to shy away from controversy. On
the other hand, dwelling on sensational aspects should be avoided
a suicide in the dining room, a murder in the parlor, or a spouse's
illicit affairs.
In order to achieve a more comprehensive interpretation of the

house, try to include other historic features at the site, such as the
gardens and grounds, outbuildings, family gravesites, slave quarters, and other architectural componentsall of which are part of
the house's history.
All interpretersvolunteer or paid staffmust maintain a high
degree of professionalism when explaining a house museum to the
public. Often the guide is the only contact that visitors have with
the museum, and their views about the site are formed on the basis
of this association. Therefore, competency, sincerity, friendliness,
and enthusiasm are of utmost importance in selecting individuals
as interpreters.
Museum Accessibility
It is a museum's responsibility to provide all people with an opportunity to share in the experience it has to offer. In fact, on July 26,
1991, the Americans with Disabilities Act (ADA), which prohibits
discrimination against persons with disabilities and mandates the
removal of barriers faced by the disabled, was signed by George
Bush. Because of this law, museums are determining their level of
accessibility and implementing changes to provide further access to
the disabled.
Accessibility is a complicated issue. Making a museum house
accessible to the disabled may be as simple as installing a wood
ramp at one of the entrances to allow access to the first floor. But
it may also involve changing the physical appearance of the historic
house, as well as potentially costly modificationsinstalling curb cuts,
enlarging sidewalks and walkways, and adding larger doors and
even elevators.
One question arises because of a law under the Historic Preservation Act of 1966, which directs that if a museum is on the National Register of Historic Places the building must be protected
and kept from being altered in any way that might compromise its
historical integrity. How, then, can the staff of a historic house museum, with an eye to preserving the building's physical structure,
modify it to allow access to the disabled mandated by the Americans with Disabilities Act? The ADA is designed to work with the
Historic Preservation Act. Physical access to public buildings is paramount to ADA; however, it is meant to be implemented without
placing "undue burden" or "undue hardship" on public or private
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museums. Consequently, the ADA suggests alternative methods of

access when alteration will threaten or destroy the historic significance of a building or if an institution cannot afford to make the
alterations. For example, if it is not feasible to install an elevator,
the museum might instead show videotapes of its upper floors to
visitors who are unable to climb stairs. Contact your State Historic
Preservation officer to determine if ADA guidelines would threaten
or destroy the historic significance of your facility.
An important feature of the ADA is that each museum is examined case by case. An accessibility consultant will evaluate your
building according to ADA guidelines, and can suggest how to make
changes without too much difficulty or expense. Examples are installing access ramps; making curb cuts; repositioning shelves, tables, chairs, vending machines, or telephones; adding raised markings on elevator control buttons; widening doors; installing accessible
door hardware; installing grab bars in toilet stalls; and removing
high-pile, low density carpeting.
It is important to begin planning for the modifications needed
in making your museum accessible. Become familiar with the ADA.
Build accessibility improvements into your five-year plan; goals are
more easily met if they are spread out over a period of time. Improvements may require fund raising. Contact your State Historic
Preservation Office for availability of funds. (At present there are
no federal funds to assist historic house museums in improving
physical access; however, this may change in the future.)
Request a copy of the Americans with Disabilities Act rules and
regulations from
Department of Justice
Civil Rights Division
P.O. Box 66118
Washington, D.C.
(202) 514-0301
Modifying for Access

Staff and volunteers should have formal training in the requirements of different disabled groups, techniques for communicating
and providing assistance, and information on the location of accessible facilities.11
The museum must offer places to rest in the lobby or waiting
area, and along the tour route for those who might experience
fatigue. Visitors should also be informed at the onset of how far
they will be walking on the tour. If the full tour is too long for
some visitors, consider offering an abbreviated tour as well. Public
rest rooms and drinking fountains should be modified to accommodate wheelchair users. It is also useful for the museum to designate a staff person to assist disabled visitors in getting in and out
of their vehicles, and going up and down ramps.
Some changes to increase access to the visually impaired can be
made quite simply. Enlarging the type size on exhibit labels, making a second set of labels in braille, or offering hand-held magnifiers will assist visitors in reading standard labels. (Contact the nearest
agency for the visually impaired and its staff will be able to refer
you to braille sign-makers in the area.) Audio guides are a useful
aid. The equipment needed to prepare them is inexpensive and
readily available: a cassette tape recorder, headphones, blank tapes,
and an interpreter to record the tour through the house.
Tactile accessibility should also be explored. Can some objects
from collections be made available for disabled visitors to experience by touching? Obviously, a program of this sort should not be
implemented without supervision, but it is an option to consider. A
visually impaired visitor can greatly benefit from being able to touch
a heavy pewter stein or a crudely carved wooden bowl. 12
For the hearing impaired, the museum should provide closed
captioning on video productions, and sign-language interpreters
should be available when needed. It is helpful to get to know several interpreters and to teach them about the museum and its collections. Their expanded knowledge and understanding will enhance the tours for deaf visitors. Most states have an interpreter
referral service or center where interpreters can be located. For the
number in your state, call the National Registry of Interpreters for
the Deaf in Silver Springs, Maryland, (301) 608-0050. This organization will provide the number to the nearest referral center.
Specially designed tours should also be made available tor the
learning impaired. Teachers and advisors with specialties in learning disabilities can make suggestions in creating meaningful tours.
Disabled visitors need to feel welcome in the museum environment. Genuine friendliness and helpfulness are elements that all
historic house museums can incorporate into their programs.
Facilities, Gift Shops, and Conveniences

It is important for visitors to be made comfortable during their
stay, so it is necessary to provide adequate facilities inside, and out-
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side, if outdoor use is permitted. Make sure to have adequate accommodations, such as benches and chairs for people to pause and
absorb what they have learned as they rest. Remember, museum
fatigue affects both the feet and the psyche of those who join the
historic house tours. Also provide an adequate number of rest rooms,
drinking fountains, and trash receptacles for visitor convenience.
Maintenance staff should make regular checks to keep rest rooms
clean and well supplied. If the museum provides eating facilities,
such as lunchrooms or picnic areas, they must be kept clean and
free from food and debris. Trash receptacles must be monitored,
emptied, and cleaned frequently.
If vending machines are provided for visitors, make certain that
they operate properly and are well maintained, and that there is
change available for using the machines. Some museums sell snacks
such as cookies, rolls, coffee, fruit, and sandwiches. These must be
kept freshto prevent food poisoningand food handlers must
adhere to state health codes for preparing, handling, and selling
food to the public.
Outdoor Facilities
House museums offer a range of outdoor facilities, from elaborate
formal gardens restored to their historic appearance to simple
grounds. Many museums provide facilities such as picnic grounds,
rest areas, walkways through wooded areas, and even outdoor arenas where programs are held.
In most museums, visitors are left to enjoy the grounds at their
leisure, and tours are self guided. However, some do have staff
who specialize in horticulture or landscape architecture to guide
tours and answer questions. Other museums provide only prearranged tours or special tours during certain times of the year.
Whatever the arrangements, visitors should be informed in advance about what they can expect once outside the museum building. It is essential for visitors to know the museum's rules for using
the grounds; these should be listed on signs or relayed by a tour
guide. Do not expect visitors to read rules printed only in a brochure. If grounds are extensive, provide a map showing locations
of picnic areas, rest rooms, accessible walkways, and trash receptacles.
Consider assigning a guardeither paid or volunteerto patrol the grounds in order to answer questions, assist visitors, alert
the maintenance staff when supplies are low in rest rooms, and
reinforce the museum's rules.
It is imperative to keep grounds well maintained to lend to the
beauty of the surroundings, as well as to provide a safe environment for visitors. Grass should be kept well manicured, and bushes
and trees well trimmed. Low-hanging branches or overgrown walkways not only look bad, but pose a hazard. Always put away lawn
equipment and chemicals after use, and keep garden hoses, sprinklers, trowels, and rakes away from areas where visitors may
walk.
Renting Facilities
Some museums open their outdoor facilities to the public lor rental.
Weddings, receptions, conferences, business events, and parties are
popular events held on museum grounds. It is important to have a
written policy that outlines procedures, rules of use, responsibilities
and liabilities of renters, and a fee schedule. In addition, a contract
must be drawn up between the renter and the museum.
The museum may want to obtain a special insurance rider when
the grounds are being rented to cover damages that may be incurred. (The expense for this extra coverage should be paid by the
renters.) The museum's insurance company can provide specific
information.
Gift Shops
Operating a museum is an expensive endeavor, and it is generally
agreed that starting a gift shop is a good way to earn capital to help
defray expenses. In fact, a well-managed gift shop is a means of
providing funds to add exhibits, make repairs to the structure, and
create programs. Frequently, small museums use profits earned from
gift shops, coupled with membership and entrance fees, to keep
the doors open and the museum running.
Most often, the museum will set up the store, establishing a location within the building or on the grounds, purchasing the stock,
and hiring or recruiting a manager to run it. However, gift shops
in museums occasionally are operated by independent nonprofit
organizations that raise money to support the museum. Because
they are independent, they have their own board of directors and
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are largely self-governed. Sometimes the museum may rent space

to an independent shop if some of the profits are returned to the
museum.
Most museum gift shops operate as nonprofit entities and benefit from the museum's tax-exempt status. But before opening a
store, be sure to seek legal council on the proper procedures; the
process is complicated, and laws change pertaining to such businesses. It is also helpful to contact the Museum Store Association
for advice about where and how to begin. This nonprofit membership organization was formed to provide its members with skills for
effective store management, resources for locating relevant products for the store, and information on government actions that affect the museum store industry. 13
WHAT TO SELL
The type of merchandise sold in the shop should relate to the identity and personality of the museum house and its former inhabitants. Artifacts in the house can offer clues about what to stock.
Reproductions of teapots, glass and wooden bowls, quilts, and coffee grinders are products that are often available. Books relating
to architecture, life during the period, or activities in which the
family was involved, and even history books of the region or state
are related items that could be sold.
If children were an important component of the museum's story,
sell old-fashioned, handmade games, toys, and dolls, and childrens'
books, paper dolls, and patterns for doll clothes.
If gardening was an emphasis of the historic family or even of
the time period, sell seeds, books on gardening, and simple gardening tools. Offer objects that are associated with articles made
and discussed at programs or demonstrations at the sitehandmade baskets, silver jewelry, silk flowers, or wooden household
utensils.
For ethnic museums, it is important to purchase merchandise
that reflects the heritage. A trip to the country being represented
may be necessary in order to stock authentic objects.
Ask visitors what they would be interested in buying. Offer a
range of prices and quality to make objects affordable to the diverse
people who will shop.

THE WORK FORCE
Volunteers make up the staff at gift shops in many museum houses,

although it is not unusual for store managers to have paid positions
because of the demanding nature of the job. Store managers often
recruit the volunteers and organize and direct them, as well as conduct the business of buying and selling the store's merchandise.
This is a time-consuming and important task that requires a responsible and dedicated person. (Generally the more income earned
by the store, the more paid positions there are.)
Museum shop volunteers should be recruited and managed in
much the same way as volunteers working in other areas. The rules
of thumb are make sure that the job description is clear and that
each person knows what is expected of him or her and how the
shop is operated; correctly match the right person with the right
job; offer job changes to prevent burnout; praise and encourage
the staff's efforts; consider carefully who will work, and make sure
there is always a leader (a knowledgeable and capable volunteer or
employee) scheduled to solve efficiently the inevitable problems that
arise with customers.
Those working in museum shops have a dual role; they must
understand the merchandise they sell, and they must know the museum. Visitors will expect shop staff to be knowledgeable about exhibits, programs, and even the collections. They will ask questions
pertaining to the museumthe times it is open, where facilities are
located, and when the presentations begin. Regularly scheduled
meetings, even a gift shop newsletter, will help the staff keep up to
date. It is also helpful to have on hand "Information Sheets" that
answer stock questions and provide an update.
NOTES
1. Fred E. H. Schroeder, Interpreting and Reinterpreting Associative Historic Sites and Artifacts, Technical Report, no. 6 (Nashville, Term.: American Association for State and Local History, 1986), p. 7.
2. William Alderson and Shirley Payne Low, Interpretation of Historic
Sites, 2d ed. (Nashville: American Association for State and Local History,
1985), pp. 12-21.
3. William T. Alderson, personal communication, January 5, 1991.
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4. For a detailed discussion of goals and objectives in planning interpretive programs, turn to Carolyn P. Blackmon, Teresa K. LaMaster,
Lisa C. Roberts, and Beverly Serrell, Open Conversations: Strategies for Professional Development in Museums (Chicago: Department of Education, Field
Museum of Natural History, 1990).
5. Jeffery Smith, "Rites of Passage," History News 44, no. 1 (1989): 29.
6. Ibid., pp. 29-31.
7. Ibid., p. 30.
8. Alderson, personal communication, January 5, 1991.
9. Warren Leon and Roy Rosenzweig, History Museums in the United
States (Champaign: University of Illinois Press, 1989), p. 89.
10. Alderson and Low, Interpretation of Historic Sites, p. 60.
11. Larry Molloy, "Museum Accessibility: The Continuing Dialogue,"
Museum News 60, no. 2 (1981): 56.
12. Ibid., pp. 53-54.
13. The Museum Store Association, Inc., is located at 501 South Cherry
Street, Suite 460, Denver, Colorado, 80222. The phone number is (303)
3296968. The Museum Store Association provides a quarterly magazine,
a membership directory, and other special interest publications. It organizes an annual meeting dealing with current topics in various locations
around the United States.
11
Volunteers in the
Historic House Museum
I have often admired the extreme skill they show in proposing
a common object for the exertions of very many and in inducing them voluntarily to pursue it.
Alexis de Tocqueville, Democracy in America
WHEN FRENCH STATESMAN and writer Alexis de Tocqueville traveled in the United States in 1831 and 1832, he was amazed by the
generosity of Americans in lending their time and expertise voluntarily. Today that same spirit persists for the benefit of individuals, institutions, and communities. In this tradition, volunteers
continue to fill vital roles in American museums, with some 70,000
serving throughout the country. 1 Without volunteers the majority
of smaller museums, especially historic houses, would not be able
to open their doors.
A recent National Trust survey indicates that more than 65 percent of historic property museums are run solely by volunteers.
Frequently, they are residents of the town where the museum is
located or are members of local groups that strive to preserve and
administer the historic structure. Volunteers often undertake the
major tasks of establishing a board of trustees, appointing a director or curator, recruiting guides, and even finding local assistance
for the museum's cleaning and maintenance needs.
Volunteers come to the house museum because they are interested in the history of their community or region and they want to
offer their time and their knowledge. Because they often bring
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special skills and professional experience to the museum position,

they have greater expectations of what museums can offer them.
Curators of historic house museums must know how to recruit,
organize, manage, and train volunteers. Where does the museum
find volunteers and how are they recruited? And once recruited,
how are they retained?
Recruiting Volunteers
An understanding of what motivates people to volunteer will aid in
both recruiting and retaining volunteers. One or more of the following motives often prompts people to seek volunteer positions in
historic house museums.
Self-fulfillment and personal esteem through ties with organizations they value.
A personal commitment to better the community.
A desire to work for social change and reform by aiding in the
preservation of historic sites and properties.
A need to increase or sharpen marketable skills and to gain references for employment.
A desire to continue the use of special skills after retirement (as
computer programmer, draftsperson, writer, researcher, electrician).
A desire to meet people and make new friends.
A means to earn academic credit (as a student intern).
Regardless of the reasons volunteers choose to work at museums, once they are there, their roles and responsibilities must be
clearly defined. A systematic approach to structuring the individual's positions and roles will help to create order and will give volunteers a sense of direction and purpose within the organization.
How and Where to Find Volunteers

A good method of establishing a volunteer program is by advertising openings in local newspapers, the museum's newsletter or a
flyer in a regular museum mailing, and press releases sent to schools
Volunteers in the Historic House Museum
and professional groups. Radio spots (public-service announcements) can also stimulate interest in potential volunteers.
A successful volunteer program is often the best way to recruit
volunteers. Word-of-mouth recruiting is frequently used by smaller
museums and fills their volunteer needs. And holding an open house
in which the existing volunteer staff members perform their jobs
and discuss their responsibilities is also a good way to entice potential volunteers. Other methods of finding volunteers include slideshow presentations before targeted audiences, such as retired
teachers or soon-to-retire employees from large companies in the
community.
An example of an ad in a newsletter might be:
MUSEUM TOUR GUIDES NEEDED
Outgoing individuals with a love of history will find volunteering

as a tour guide enjoyable and rewarding. Share your knowledge
of our historic building and your enthusiasm for our cultural heritage. Training in guiding tours will be provided.
Use a wide variety of outside special-interest publications to announce positions. Keep local organizations in mindweavers' guilds,
lace-makers' associations, and woodworking and blacksmith guilds
are excellent sources. Not only can their members provide skills
needed by the museum, but they also have great enthusiasm for
their crafts. Reaching out into the community by contacting such
organizations can increase the visibility of the museum.
An example of an ad for the newsletter of a local weavers' guild
might be:
The historic house museum is looking for volunteers to help preserve its textile and costume collections. Due to a major reorganization of the storage areas, volunteer help is needed for rolling
large textiles on tubes, lining storage areas with muslin, padding
costumes with acid-free paper, and stabilizing textiles for exhibition. A three-session training course will be provided for all volunteers. Contact the curator for details.
Government Agencies
There are agencies whose sole purpose is recruiting and referring
volunteers, and they can also be valuable resources. For example,
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Voluntary Action Centers (VAC), also known as Volunteer Bureaus, operates 387 volunteer clearinghouses throughout the United
States. VAC, an excellent source for locating potential volunteers,
offers its services to all museums. (Refer to your state office on
volunteer services for Voluntary Action Centers in your community or contact The National Volunteer Center [VOLUNTEER] in
Arlington, Virginia.)
The Management Assistant Project (MAP), is run through the
United Way. MAP fills requests for professional assistance for museum management problems, ranging from establishing personnel
policies to recruiting trustees. Although MAP charges a fee for its
service, it can be negotiated or waived altogether, depending on
the finances of the organization. To learn more about MAP, contact your local United Way office.
The Retired Seniors Volunteer Program (RSVP) matches qualified volunteers with positions in community organizations. RSVP
is found throughout the country listed under the state ACTION
office (the umbrella agency for federal government volunteer programs).
Many state governments have an office on volunteerism, check
the state office listings in your telephone directory.
Corporate Retiree Programs
Many corporations offer volunteer services through their corporate retirees' program, matching former employees with appropriate volunteer positions in the community.
Honeywell, Inc., a large corporation based in Minnesota, offers
one such program. This service, staffed by former Honeywell employees, taps a wide range of expertise, providing historic house
museums with retirees skilled in areas from photography and lighting to office work and management consulting. Requests for volunteers are recorded on a computer database that matches qualified retirees to position openings.
Internships in the Museum: Help from Colleges and Universities
Museum internship programs offer students a challenging environment in which to work and an opportunity to earn academic
credit while gaining experience. Internships can vary from a one-
month "career exploration" course to programs that last a full school

year.
Museums use interns to research collections or to assist in registering, storing, inventorying, and cataloging them. Interns can also
help to plan and prepare exhibits by researching and writing labels
and copy for pamphlets and catalogs. Students with the requisite
skills can be assigned basic carpentry or photography. The curator
may limit applicants to those with a background in American history, American studies, museology, or other fields.
All internships should include a written agreement or "learning
contract" between the curator (or director, or site manager), the
student, and the faculty adviser from the academic institution. This
agreement should describe in detail the nature of the job, the number of hours the job will entail, and how many academic credits the
job will carry. The intern, curator, and adviser should establish a
method for evaluating the intern's service. Will it be a written record or journal of days spent at the museum? Will it be an oral
presentation given in class or seminar? The adviser may ask the
museum staff to assess in writing the intern's competence, attitude,
initiative, and other traits observed during the internship.
Basics of a Volunteer Program

Applications and Interviews
Interested potential volunteers should complete a detailed application, including work experience and references. Carefully review
the applications and call references, determining whether the applicants would work well in the museum. Then meet with each volunteer in person, and make clear the expectations of the museum:
a commitment to the goals of the museum and its mission, mandatory training sessions, and a contribution of a minimum number
of hours.
Placement
Consider the interests, former training, talents, and motivation of
individuals before placing them. Be sensitive to both the needs and
the expectations of the volunteer and the museum. Ask questions.
Do not assume that because those with experience, for example, as
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a computer operator or an electrician, will wish to do similar work

in the museum. Volunteers may be looking for a challengefor
new and very different work from their everyday occupation.
Job Descriptions
Working together, supervisor and volunteer should write a description of the volunteer's job. The description should include the
volunteer's qualification, occupation, and employer or former employer and specify special skills that are needed. If the supervisor
is also a volunteer, he or she should work with the director or board
to define the job.
Job descriptions can be helpful in documenting volunteer assistance when applying for grants. Generally, a strong volunteer program indicates excellence in museum standards and a dedication
to the museum from individuals and benefactors.
Training
Training volunteers not only provides the museum with a skilled
resource, but enriches the work experience and education of the
volunteers. Further, it adds to the confidence of the volunteers in
carrying out their jobsthey know that the museum is investing in
them.
Skilled staff members should provide the training: the interpreters should train the docents, and the curator should train those
who will be working with collections. Training should be continual
and adapted to the museum's changing exhibits and programs.
Videotape training sessions for future use and for use by volunteers who are unable to attend at scheduled times. "Experts" from
outside the museum can also be recruited for training. For example, bring in a head guard from a larger museum to discuss new
techniques and procedures for securing the museum.
Basic training should include familiarizing all volunteers with
the museum's bylaws, mission statement, collections policy, and code
of ethics. All volunteers should have a copy of the Museum Code of
Ethics (see Chapters 2 and 4). Volunteers serving as curators, directors, or members of the board of trustees must be aware of the
specific codes that pertain to their roles and responsibilities in the
museum. Managers of historic house museums, whether volunteer
or paid staff, are responsible for the care of the objects and buildings held in public trust.
Performance Evaluations
The museum should plan to evaluate the work of its volunteers
periodically. By taking the time to evaluate their views and attitudes, as well as their work, the relationship between unpaid and
paid staff can be strengthened. Include in the evaluation basic
questions on performance: Do the volunteers understand the museum's goals? Is their work commitment being fulfilled? Are they
satisfied with the kind of work in which they are involved? In the
process, consider if adequate training has been provided the volunteers and if they are serving in appropriate roles.
Volunteers should also be given the opportunity to reevaluate
their own positions and goals; this can help to promote their continued interest in the organization. Some museums use peer evaluation to assess the performance and function of volunteers. This
system works best where volunteers have received similar training,
allowing for balanced comparison of one another's performance
and exchange of constructive suggestions.
Regular Informational Meetings
Staff members must meet regularly with volunteers to acquaint them
with new procedures, current projects, new positions, and forthcoming exhibitions. These meetings can also serve as a forum for
volunteers to present problems and developments in the museum
about which the staff might be unaware. Informational meetings
should also promote cohesiveness among the volunteer staff and
reinforce the connection between the volunteer and the museum.
Scheduling and Documenting Volunteer Time

A schedule of the volunteer's work hours and vacations should be
prepared and made available for easy reference. It often works
well to have volunteers sign up for a month at a time, with a certain
number of hours committed to ensure that the volunteer is recog-
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nized as a staff member. (Twelve hours a month is an average commitment.)

A separate chart with the volunteer's name, position, and number of hours contributed is a useful record for the museum. For
example, the grant application for the Institute of Museum Service's general operating support program asks about volunteer involvement, which such a chart can document.
Volunteer Recognition: The Key to Success

Formal recognition is essential when acknowledging the service of
volunteers. Traditionally, museums have acknowledged their volunteers' efforts with an annual celebration, in addition to plaques,
pins, and awards. These serve to strengthen volunteer camaraderie. But the informal appreciation that is shown day to day can be
the most satisfying kind of recognition. For example, provide volunteers with a positive work environment; parking, desk space,
coffee, refreshmentssmall measures such as these go a long way
in expressing appreciation. Include volunteers in staff meetings and
decision making: being personally recognized and greeted by the
museum's paid staff or board of trustees is importantrecognition
that will stimulate a positive work environment.
Recognition for volunteer service can take many forms.
Profiles in the museum's newsletter.
Discounts in the museum store.
Free membership in the museum.
Complimentary tickets to exhibition openings, receptions, lectures, movies, and special events.
Presentation of service awards, such as plaques and certificates.
Often the governor's office will have signed certificates that can
be given to special volunteers.
Sabbaticals to volunteers who feel burned out.
Letters of commendation.
Free enrollment in the American Association of Museum Volunteers, a representative organization of all volunteers in American
museums.
National, State, and Federal Volunteer Organizations

National Organizations
The American Association of Museum Volunteers (AAMV, affiliated with the American Association of Museums) is a membership
organization specifically designed for museum volunteers. It is open
to individual, salaried staff, and group participation and represents
more than 22,000 museum volunteers. AAMV's mission is to promote professional standards in volunteering in museums, to serve
as a center for information about volunteer activities, and to provide continuing education for volunteers and volunteer managers.
Each state has an AAMV-appointed representative responsible
for fielding calls concerning museum volunteering, giving presentations to museums in the state concerning AAMV, and informing
museum professionals about the organization. (To locate this representative, contact your state museum association or call the AAMV
office; see listing in the Appendix).
There are other national associations that support volunteer
leaders, promote the study of voluntarism, and provide information and support. These associations often are affiliated with the
national organization Association for Volunteer Administration
(AVA).
Association for Volunteer Administration (AVA). AVA is a professional association for those working in the field of volunteer
management who want to develop their professional skills and
shape the future of voluntarism. Services include certification, a
quarterly journal, and regional and national conferences.2
Association of Voluntary Action Scholars (AVAS). AVAS is an
association of scholars and professionals seeking to stimulate and
distribute research and inquiry in the field of voluntary activity.
The National Volunteer Center (VOLUNTEER). VOLUNTEER
serves as a national advocate for volunteering and citizen involvement, encouraging the more effective use of volunteers in community problem solving. This organization helps to improve volunteer management skills by providing information-sharing,
training, and technical assistance services.
Nonprofit Management Association (NMA). The purpose of this
organization is to stimulate ideas and develop professional skills
among those who provide management and technical assistance
to nonprofit organizations.
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State Government
Offices
Many state governments have offices that provide services to the

volunteer community. Their mission is to encourage and sustain
volunteer programs, citizen participation, and public and private
partnerships that contribute to the quality of life for the state's citizens. (Check the telephone directory for the state office listing.)
State-run volunteer services fulfill their mission by
Lobbying on volunteer issues.
Conducting research on various aspects of volunteering and disseminating on volunteer programs and resources.
Communicating with volunteers and community leaders and responding to requests for technical assistance.
Increasing the visibility and status of volunteers.
Providing training in volunteer-related issues, trends, and techniques.
Maintaining a library of resource material.
Federal Agency
ACTION is the umbrella federal agency for volunteer programs.
Its purpose is to stimulate voluntarism and to demonstrate the effectiveness of volunteers in problem solving. Its programs concerning museum volunteers are Retired Senior Volunteers (RSVP) and
Volunteers in Service to America (VISTA). (Addresses of these organizations are listed in the Appendix.)
Assessing the museum's volunteer needs, planning a workable volunteer program, recruiting volunteers, and acknowledging their
work are all essential elements in a well-managed museum. A volunteer program is a symbiotic relationship, meeting the needs of
both the participants and the institution. A strong volunteer staff
is an invaluable resource in accomplishing a museum's goals.
NOTES
This chapter has been published in part as Sherry Butcher-Younghans,
"Using Volunteers in History," History News 43, no. 4 (1988): 11-14.

1. According to the American Association for Museum Volunteers there
are over 70,000 volunteers who serve in museums in the United States.
2. Descriptions of volunteer organizations are excerpted from a listing
of national volunteer resource organizations compiled by the Minnesota
Office on Volunteer Services.
235
APPENDIX
Organizations
Advisory Council on Historic
Preservation
1100 Pennsylvania Avenue, Suite
809
(202) 786-0503
American Arts Alliance
424 C Street NE
American Association for State
and Local History
530 Church Street,
Suite 600
Nashville, Tennessee 37219
(615) 255-2971
American Association of
Botanical Gardens and
Arboreta
Department of Horticulture
Box 3530
Las Cruces, New Mexico 88003
American Association of
Museums
1225 Eye Street NW,
Suite 200
(202) 289-1818
American Association of Museum
Volunteers
Wadsworth Atheneum
600 Main Street
Hartford, Connecticut 06103
American Historical Association

400 A Street SE
(202) 544-2422
American Institute for
Conservation of Historic and
Artistic Work
1400 16th Street NW,
Suite 340
(202) 232-6636
American Institute of Architects
1735 New York Avenue NW
(202) 626-7300
American Library Association
50 E. Huron
Chicago, Illinois 60611
(312) 944-6780
American Society of Landscape
Architects
Committee on Historic
Preservation
1733 Connecticut Avenue NW
(202) 686-2752
American Studies Association
University of Maryland
South Campus
Surge Building, Room 2101
College Park, Maryland 20742
(301) 405-1354
238
Appendix
Association for Living History
Farms and Agricultural
Museums
National Museum of American
History
Smithsonian Institution,
Room 2235
(202) 357-2095
Association for Preservation
Technology
P.O. Box 8178
Fredericksburg, Virginia 22404
(703) 373-1621
1030 Innes Road
Ottawa, Ontario KIA OC8
Canada
(613) 998-3721
Canadian Museums Association
280 Metcalfe Street,
Suite 202
Ottawa, Ontario K2P 1R7
Canada
Center on History-Making
in America
Indiana University
1503 E. Third Street,
Suite 201-202
Bloomington, Indiana 47405
(812) 855-8639
Institute for the Conservation of
Cultural Material (ICCM)
P.O. Box 1638
Canberra City
Canberra, A.C.T. 2601
Australia
International Centre for the
Study of the Preservation and
the Restoration of Cultural
Property
Via San Michele 13
00153 Rome
Italy
International Council of
Museums
Maison de l'Unesco
1 rue Miollis
Paris XVe
France
International Institute for
Conservation of Historic and
Artistic Works
6 Buckingham Street
London WC2N 6BA
England
Museum Store Association
501 South Cherry,
Suite 460
Denver, Colorado 80222
(303) 329-6968
National Council on Public
History
301 Cavanaugh Hall
425 University
Indiana University
Indianapolis, Indiana 46202
(317) 274-2716
National Institute for the
Conservation of Cultural
Property
3299 K Street NW, Suite 403
(202) 357-2295
National Park Service (NPS)
U.S. Department of the Interior
P.O. Box 37127
Washington, B.C. 20013-7127
(202) 208-4747
National Register of Historic
Places
1100 L Street, Suite 6209
(202) 343-9536
Organizations
National Trust for Historic

Preservation
1785 Massachusetts Avenue NW
(202) 673-4000
New York State Conservation
Consultancy
2199 Saw Mill River Road
Elmsford, New York 10523
(914) 592-4901
Organization of American
Historians
112 N. Bryan Street
Bloomington, Indiana 47408
(812) 855-7311
Smithsonian Institution
Traveling Exhibition Services
(SITES)
1100 Jefferson Drive, SW, Room
3146
(202) 357-3168
Society for American
Archaeology
808 Seventeenth Street NW,
Suite 200
(202) 223-9774
Society for the Preservation of

New England Antiquities
(SPNEA)
Harrison Gray Otis House
141 Cambridge Street
Boston, Massachusetts
02114-2799
(617) 227-3956
Society of American Archivists
600 South Federal, Suite 504
Chicago, Illinois 60605
(312) 922-0140
Society of Architectural
Historians
1232 Pine Street
Philadelphia, Pennsylvania
19107-5944
(215) 735-0224
Textile Conservation Workshop,
Inc.
Main Street
South Salem, New York 10590
(914) 763-5805
Urban History Association
Department of History
Lake Forest College
555 N. Sheridan Road
Lake Forest, Illinois 60045
(708) 234-3100
Victorian Society in America
The Anthenaeum
East Washington Square
(215) 627-4252
Funding Agencies that Help

the Historic House Museum
Institute of Museum Services
(IMS)
1100 Pennsylvania Avenue NW,
Suite 510
(202) 786-0536
J. Paul Getty Trust

Grant Program
1875 Century Park East,
Suite 2300
Los Angeles, California 90067
(213) 277-9188
239
240
Appendix
(NEA)
Suite 803
(202) 682-2000
National Endowment for the
Humanities (NEH)
Suite 803
(202) 786-0438
National Science Foundation

1800 G Street NW, Suite 520
(202) 357-9498
Smithsonian Institution
Office of Fellowships and Grants
955 L'Enfant Plaza, Suite 7300
(202) 287-3271
Regional Conservation Centers and Associations

Most of the following are listed in American Association of Museums Caring for Collections: Strategies for Conservation, Maintenance
and Documentation (Washington, D.C.: American Association of Museums, 1984).
These twelve regional centers function as nonprofit conservation laboratories for use by museums, historical societies libraries
and universities.
Balboa Art Conservation Center
P.O. Box 3755
San Diego, California 92103
(619) 236-9702
Center for Conservation and
Technical Studies
Fogg Art Museum
Harvard University
Cambridge, Massachusetts 02138
(617) 495-2392
Conservation Center for Art and
Historic Artifacts
264 S. 23rd Street
(215) 545-0613
Intermuseum Conservation
Association
Allen Art Building
Oberlin, Ohio 44074
(216) 775-7331
New York State Office of Parks

and Recreation
Bureau of Historic Sites
Collections Care Center
Peebles Island
Waterford, New York 12188
(518) 237-8643
Northeast Document
Conservation Center
Abbott Hall
24 School Street
Andover, Massachusetts 01810
(617) 470-1010
Pacific Regional Conservation
Center
Bishop Museum
P.O. Box 19000-A
Honolulu, Hawaii 96817
(808) 847-3511
Organizations
Rocky Mountain Regional
Conservation Center
University of Denver
2420 S. University Boulevard
Denver, Colorado 80208
(303) 733-2712
Texas Conservation Center
Panhandle-Plains Historical
Museum
Box 967, W.T. Station
Canyon, Texas 79016
(806) 656-2238
Upper Midwest Conservation

Association
2400 3rd Avenue South
Minneapolis, Minnesota 55404
(612) 870-3120
Williamstown Regional Art
Conservation Laboratory, Inc.
Clark Art Institute
225 South Street
Williamstown, Massachusetts
01267
Textile Conservation Center

800 Massachusetts Avenue
North Andover, Massachusetts
01845
(617) 686-0191
Organizations For and About Volunteers

ACTION
Association of Voluntary Action

Scholars (AVAS)
Lincoln-Filene Center
Tufts University
Medford, Massachusetts 02155
(617) 381-3449
American Association for

Museum Volunteers
1225 Eye Street NW,
Suite 200
(202) 289-6575
National Volunteer Center

(VOLUNTEER)
1111 North 19th Street,
Suite 500
Arlington, Virginia 22209
(703) 276-0542
Association for Volunteer

Administration (AVA)
P.O. Box 4584
Boulder, Colorado 80306
(303) 541-0238
Nonprofit Management
Association (NMA)
c/o United Way of Minneapolis
P.O. Box 2350
Minneapolis, Minnesota 55402
(612) 340-7591
1100 Vermont Avenue NW

(202) 634-9108
241
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Chapter 7
American Association for State and Local History. Housekeeping Techniques
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MacLeish, A. Bruce. The Care of Antiques and Historical Collections. Nashville, Tenn.: American Association for State and Local History, 1985.
Moss, Roger W. Lighting for Historic Buildings. Washington, D.C.: Preservation Press, 1988.
Nylander, Richard C. Wallpapers for Historic Buildings. Washington, D.C.:
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INDEX
Accessibility, 217-19
Accession file, 62
Accession number, 62
Accessions register, 61
Accreditation, 12, 25
Acid-free materials, 69, 72, 81, 85,
86, 91, 125
boxes, 72, 84, 85, 90
cardboard, 70, 91, 93, 97
envelopes, 90
paper, 69, 72, 81, 82, 84, 85, 86,
91, 125
trays, 72
tubes, 85
Acquisition, 29, 52
committee, 58
Advisory Council on Historic
Preservation, 31, 180
Aesthetic considerations, 18586,
189, 201
Alderson, William, 42, 223nn.2, 3
Alexander Ramsey House, 19699,
215
Alexander, Edward P.
American Association for State and
Local History (AASLH), 27, 4142, 45, 47, 66, 143
American Association of Museums
(AAM), 3, 24, 41-42, 45, 53-55,
66
American Association of Museum
Volunteers (AAMV), 232-33
American Institute for Conservation
of Historic and Artistic Works
(AIC), 38, 104
American Law Institute/American

Bar Association (ALI/ABA),
22
American Swedish Institute, 49,
67n.2, 77, 115, 135, 186-87
Americans with Disabilities Act, 217
18
Anderson, Gretchen E., 128nn.10
11, 167n.31
Antebellum plantation, 4, 56, 185
Appleton, William Sumner, 33. See
also Society for the Preservation
of New England Antiquities
Archaeologists, 195, 202
Archaeology, 27, 31, 45, 194-95
Architect, 190
restoration, 194
Architectural Conservation Grants,
37
Architectural Conservation Services,
34-35
Architectural drawings, 191
Architectural preservation, 14665
Architectural replacements, 164
65
Architecture, 45, 189, 192
Archives, 34, 62
materials, 88
preservation, 4445
Articles of incorporation, 12, 13
Artists' rights, 10
Association for Preservation
Technology (APT), 31
Attractive nuisance, 10, 174
264
Index
Barton, Clara, 185

Bay Foundation, 3031
Board of trustees, 10-19, 52, 55-56,
58, 232
Botsford Tavern, 185
Bowen, Henry Chandler, 152
Bowen House. See Roseland Cottage
(The Bowen House)
Brush-Everard House, 194
Butcher-Younghans, Sherry,
128nn.l0-11, 167n.31, 234
Bylaws, 13-14, 230
C. M. Russell Museum, 186
(CCI), 39, 78-81, 83, 94-97,
110, 112, 143
Carson, Kit, 186
Catalog, 61
card, 63
worksheet, 62
Center for Historic Houses, 29
Center for Historic Preservation, 46
Chambers, J. Henry, 151
Charitable corporations, 11 12. See
also Nonprofit organizations
Charter, 12-13
Chase, Stephen, 203
Cleaning, 129
chandeliers, 129, 141-42
floor coverings, 129, 137
floors, 140-41
glass, 136
metal fixtures, 129, 143
painted walls, 138
plasterwork, 135
wallpaper, 129-38
windows, 136
wood, 135
Coats, Peggy, 8nn.37
Code of ethics, 39, 53-55, 230
Coleman, Laurence Vail, 3, 8n. 1
Collecting
museum, 5459
passive, 55
personal, 54
Collections, 7, 30-32, 34, 40-41, 182
acquiring, 5559
computerizing, 6567
documenting, 5960
management policy for, 5051, 53,

55, 230
managing, 15, 5055
organizing, 4855
registering, 6065
storing, 68-101
Collections Care Information Service,
30
Collectors, 58
Colonial Williamsburg, 6, 45, 47,
194-95, 209
Committees, 14
Computerization, 6566
Conservation, 15, 32, 34-35, 38-39,
41, 45, 58, 68, 76, 103-27
Conservation Assessment Program
(CAP), 30, 104
Conservation Project Support, 36,
104
Conservator, 104
Constitution, 12-13
Cooperstown Graduate Program in
History Museum Studies, 4546
Copyright, 10
Costumes, 72, 76-81, 211
Curator, 7, 26, 44, 53, 68, 215
as chief of security, 170
cleaning practices of, 13031, 133
collecting by, 5559
computerizing collections, 6567
conservation practices of, 1034
ethics of, 53-55
exterior maintenance,
responsibilities for, 149-53
governing role of, 10
interpreting period rooms, 2023
preparing interpretive program,
186-89
presenting lectures, workshops,
classes, 213-14
recruiting and managing
volunteers, 226-29
registering collections, 6064
safe storage techniques, 91
storage materials for use by, 90
Davis, A. J., 193
Deaccession, 52, 60
Deed of gift, 61-62
Dendrochronology, 194
Index
Department of the Interior, 32
Directors, 7, 10
bylaws, 13
as chief of security, 170
internships, agreements of, 229
manual of policies and procedures,
18-22
Museum Code of Ethics, 230
responsibilities of, 55
role of, 16-18
Documentary site, 184, 185-86, 196,
202, 204
Documentation, 59
of objects, 59-60
Documents, 72, 89-90
Dudley, Dorothy, 42, 60, 64
Durant, William West, 160
Enslaved people, 5, 184, 208, 217
Ethnic museum, 186-87, 222
Exhibits, 15, 26, 186, 211-12
as alternative to period rooms, 207
Facilities, 219
outdoor, 220-21
renting, 20-22, 221
Fire codes, 10
Fire extinguishers, 177
Flagler, Henry, 184
Fletcher, Kathleen Brown, 43
Floor coverings
care of, general, 83, 85, 88, 114
cleaning of, 122-24, 129, 137
handling of, 127
protecting, 168
Folklife, 212
Folkways, 184
Foodways, 203
Form of acceptance, 61
Foundation of the American Institute
for Conservation of Historic and
Artistic Works (FAIC), 39
Freedom of expression, 10
Furnishings, 67, 4951
care of, 105-6, 109-20, 122-25
cleaning of, 12944
handling of, 125-27
interpreting, 188-89, 196, 207
storage of, 74-101
265
General Operating Support (GOS),

36
George, Gerald, 8n.2
Getty Grant Program, 37-38
Getty Trust. See J. Paul Getty Trust
Gift shops, 219, 221-23
Glass and ceramics, 7576, 106, 124,
136
crizzling, 75
Guards, 92, 117, 169-71, 220
Guthe, Carl E., 43
Halon, 179
Hamilton House, 148
Handling, of artifacts, 103, 125-27
Harrison Gray Otis House, 34. See
also Society for the Preservation
of New England Antiquities
Hasbrouck House, 3
Heat sensors, 69, 177-78
Hennepin History Museum, 126
Henry Ford Museum and Greenfield
Village, 185
Henry Francis du Pont Winterthur
Museum, 4, 45, 84, 185
Hermitage, 6
Historians, 58-59, 192
Historic Deerfield, 45
Historic house museums, types of,
18486. See also Representative
sites
aesthetic, 185-86, 201
documentary, 184-86, 196, 202,
204
representative, 185-86, 201, 202
Historic preservation, 27, 43, 45
laws, 10, 217
rehabilitation, 29
restoration, 33, 104
House use policy, 20
Housekeeping, 130
cleaning schedule, 133
housekeeper's logbook, 132
housekeeper's notebook, 13132
procedures, 13444
Humidity, 69, 78, 84, 89-91, 99, 103,
106-10
absolute, 106
dehumidifiers, 69, 78, 110
266
Index
Humidity (Continued)
humidifiers, 69, 78
relative, 69, 77, 100, 105, 109-10
Hygrometers, 108-9
Institute of Museum Services (IMS),
26, 30, 36, 104, 232
Internal Revenue Service, 10, 12
International Council of Museums
(ICOM), 25, 54
Interpretation, 182-224
approach, 194-207
brochures and pamphlets, 208, 212
classes, 211
conferences, 211, 213
costumed, 211-13, 215
demonstrations, 182-84, 209-11,
213
exhibits, 207, 212-13
guided tours, 209, 213, 216
for hearing impaired, 219
lectures, 211, 213
living-history performances, 21112
preparing program, 186-89
presentation, 21417
role playing, 209-13
self-guided tour, 208, 212
site orientation, 208
stationed interpreters, 208
training, 213-17
workshops, 211, 213
Irving, Washington, 204
J. Paul Getty Trust, 37, 46
James J. Hill House, 197, 199-201
Jefferson, Thomas, 184
John Vogler House, 206
Jones, Barclay G., 175
Keller, Helen, 185
Labine, Clem, 155, 165n.l, 166nn.8,
9, 25, 26, 27
Landscape architecture, 45
Leather and hide, 72, 113, 124-25
Liabilities, 10
Light, 69, 71, 83-84, 89-92, 103,
105, 110, 111-16
affect of, on sensitive objects, 69
exposure to, 90
fluorescent, 111, 114
foot-candles, 112-13
incandescent, 111, 114
lux, 112-13
meter, 112
photoflood, 114
sunlight, 105, 110, 114
ultraviolet, 69, 110, 115
Lignin-free materials. See Acid-free
materials
Lincoln, Abraham, 11
home of, 11, 123, 139, 185
Living history, 7, 211-12
Loans, 52-53
long-term, 56
Log cabins, 5
Long-range plan, 15
Low, Shirley Payne, 42
Lyndhurst, 193, 216
MacLeish, A. Bruce, 43
Maintenance, of historic buildings,
146, 147, 149-65
exterior, 149
manual for, 149, 15153
notebook, 150
preventive, 153
roof, 153-59
roof inspection, 15960
wall, 160-64
Managers, site, 7, 10, 49, 215, 230
Martinez Hacienda, 51
Masonry, 153, 163-64
Membership, 1415, 54
Metal, 100, 106, 125, 129
Minnesota Historical Society, 196,
198-201, 215. See also Alexander
Ramsey House; James J. Hill
House
Mission statement, 14
Mold and mildew, 106
Monticello, 6
Mortar pointing, 33
Moss, Roger W., 165
Mount Vernon, 3, 6, 185
Muscology, 45, 229
Museum Assessment Program
(MAP), 26, 36, 104
Index
Museum Management Institute
(MMI), 46
Museum Management Program, 47
Museum Store Association, 222,
224n.l3
(NEA), 37
National Endowment for the
Humanities (NEH), 36-37
National Fire Protection Association
(NFPA), 178
National Historic Preservation Act,
22n.l, 31
National Institute for the
Conservation of Cultural
Property (NIC), 29-31
National Park Service, 32, 33, 41, 45,
123, 139, 149, 151, 154, 205
National Preservation Loan Fund
(NPLF), 29
National Register of Historic Places,
10, 31-33, 38, 217
National Registry of Interpreters for
the Deaf, 219
National Trust for Historic
Preservation, 73, 147, 193, 216
assistance from, 165
mission and services of, 2729, 44,
45, 47
survey by, 6, 9n.3, 225
Neal, Arminta, 43
Negligence, 10
New York State Conservation
Consultancy, 40
Nonprofit organizations, 1011, 29,
38, 53-54. See also Charitable
corporations
Nylander, Richard, 165
Object number, 62
Occupational Safety and Health
Administration (OSHA), 177
Old Salem Restoration, 183, 197,
206, 210, 214
Old Sturbridge Village, 185
Old World Wisconsin, 185
Oral histories, 59, 187, 191-92, 210
Organic materials, 72-73, 106, 111
Orvus, 76, 138, 141
267
Padded hangers, 69, 80-82, 86

Paintings, 91-97, 106, 114-15, 127
Paper, 72. See also Acid-free
materials: paper
interleaving of, 72
Period rooms, 185-86, 191
furnishings in, 196-207
interpreting interiors of, 21213
Perkins Stone Mansion, 207
Personnel manual, 55
Pests, 79, 91, 103, 105-6, 116-19,
162-63
control of, 116, 119
freezing, 120-22
insects, 70, 74, 78, 91, 93, 117-20,
162-63
rodents, 70, 78, 119-20
Photographs, 89-90
negatives, 91
prints, 91-93, 127
Plimouth Plantation, 185
Poe, Edgar Allan, 185
Pollutants, 103, 105
air, 124
Poore, Patricia, 165n.l
Preservation, 28, 46
architectural, 14665
artifact, 103-27
Preservation Assistance Division
(PAD), 32-33
Preservation Services Fund (PSF), 28
Prints, 91-93, 127
Psychrometers, 107-9
Public records, 190-91
Putnam, G. P., 204
Registration, 60
museum, 60-64
Reinterpretation, 67
Representative sites, 185-86, 200201, 204
Research, historical, 34, 189-94
county, local, and state historical
societies, 191
libraries and archives, 19091
oral histories, 191-92
public records, 190
Researchers, 7, 27, 34
Restoration, 29
architectural, 146
268
Index
Rogers, Will, 203

birthplace of, 204
Roofs
asphalt, 159
clay tile, 158
maintenance of, 153-59
metal, 158
slate, 157-58
wood-shingle, 157
Roosevelt, Theodore, 154, 205
Roseland Cottage (Bowen House),
152
Ross, Betsy, 184
Rot, wood, 161-62
Sacred objects, 55
Safety, 62, 68
fire, 33, 69, 176-80
visitor, 173-74
Sagamore, 160
Sagamore Hill National Historic Site,
154, 205
Salem Tavern, 197
Save Outdoor Sculpture! (SOS!), 30
Schlereth, Thomas, 212
Seale, William, 192
Secretary of the Interior, 31, 43, 146
Security, 22, 32, 50
disaster-preparedness planning,
174-76
electronic devices, 172
fire extinguishers, 177
(ire prevention, detection, and
suppression, 69, 17680
vandalism and theft, 168-73
visitor protection and safety, 17374
Servants, domestic, 5, 184, 188, 191,
199, 201, 209, 211
Shadows-on-the-Teche, 73, 147
Shingles, wood, 33
Shoestring budgets, 78
Silica gel, 76, 110
Smithsonian Institution, 45
Smoke detectors, 69, 177-78
Society for the Preservation of New
England Antiquities (SPNEA),
33-35, 148, 152, 165
Furniture Conservation Division,
35
Upholstery Conservation Division,

35
Source card, 63
Speech
first-person, 209
third-person, 209
Sprinklers, automatic, 17980. See
also Security
Staff, 13, 19, 52
State Historic Preservation Office
(SHPO), 33, 192, 218
Stone, 106
Storage, 40, 68-101, 103
of archival materials, 8891
containers, 7274
of costumes and textiles, 69, 76-88
of equipment, 69-72
of glass and ceramic, 7576
of metal, 100-101
of paintings and prints, 91-98
plywood, 71
of wood objects, 70, 98-99
Storage materials
archival polyester (Mylar), 74, 78,
82, 85, 88, 90
batting, cotton and polyester, 81,
86
cotton muslin, 74, 78, 82, 85, 88,
97-98, 114, 124-25
fiberfill, 81, 85
polyethylene bags, 74, 78
polyethylene foam, 74-75, 78, 98
polyethylene sheeting, 9798, 101
Solander boxes, 93
Strawbery Banke, 201-3
Summit County Historical Society,
207
Sunnyside, 156, 204
Swedish immigrants, 5
Taft Museum, 185
Tax-exempt status, 10, 12
Temperature, 69, 77, 84, 89, 90, 92,
103, 109
control of, 105-7
freezing infested materials, 12122
Temporary deposit receipts, 61
Textile Conservation Workshop, 40
Textiles, 69, 75, 106, 114-15
care of, 76-79, 82-88
Index
damage to, 11215
insect and rodent damage to, 116
19
protecting, 12025
rolling, 85-88
storing, 83-88
Tocqueville, Alexis de, 225
Turnblad, Swan J., 18687
Vanderbilt, Alfred G., 160
Vierling House, 183
Visitors, 182, 184, 207, 212
communicating ideas to. 18789
conveniences for, 219-23
disabled, 217-19
evacuation of. 176
informing, 21617
protection and safety of, 173-74
responses, 21315
seeking experience, 49
shoe covers for, 12223
vandalism and theft by, 16869
view of museum, 144
Volunteers, 6. 14, 19, 45, 52, 82, 91,
105. 125. 217, 220, 223, 225-35
corporate services for, 228
government agencies, 22728
269
internships for, 228-29

national, state, and federal
organizations, 23334
programs for, 22832
recognition of, 232
recruiting, 226
Von Rosentiel, Helene, 165
Walls, 160
masonry, 16364
wood siding, 161-63
Walsh House, 202
Webster, Noah, 184
Wilkinson, Irma Bezold, 42, 60, 64
Williamsburg Seminar on Historical
Administration, 47
Winkler, Gail Caskey, 165
Winterthur Museum. See Henry
Francis du Pont Winterthur
Museum
Wood. 98-99, 106, 124. 135
rot, 161-62
shingles, 33
Workman's compensation, 10. See also
Safety
X-ray technology, 194

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What is the purpose of the book?

What is the purpose of the book?

What types of historic house museums are discussed?

What types of historic house museums are discussed?

Historic House Museums

Oxford University Press

Printed in the United States of America

THE MOST NUMEROUS kind of museum in the United States is the

basic questions: What is the mission of the organization? How is it

A BOOK IS RARELY created by the author alone, and this axiom is

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RESTORING HOUSES OF the past and establishing them as museums

Historic House Museums

Winterthur Museum in Winterthur, Delaware, displays two hundred historic-room

redefined their attachment to history, especially on personal and

who designed or built them, or made them their headquarters. We

Historic House Museums

Historic House Museums

Museum houses are often operated by hardworking, dedicated volunteers. Without

management with the difficulties and limitations inherent to the

WHETHER YOUR HISTORIC house is just being formed as a museum

Governing the Historic House Museum

Defining the Status of a Museum

Historic House Museums

for the benefit of the public.3 If the museum is not incorporated,

The Documents that Govern the Museum

Governing the Historic House Museum

Historic House Museums

Membership. A definition of categories and fees. Procedures for

Governing the Historic House Museum

objects it will collect. The statement is a basic guide and must be

Historic House Museums

Trustees are legally responsible to abide by certain basic duties

Governing the Historic House Museum

Carries through museum policy

The board of trustees selects and hires the museum director

A director's role is to hire and to dismiss staff members and to

The relationship of trustees and museum staff is formal, and both

Historic House Museums

Sets museum policy

Staff Management: Policies in the Museum

A DESCRIPTION AND HISTORY OF THE MUSEUM

The introduction explains the meaning and origin of the museum's

Governing the Historic House Museum

Flow chart showing relationships in small museums.

as a description of what the museum collects, how the collection is

PROCEDURES FOR MUSEUM OPERATIONS

The functions of each department and staff responsibilities are a

Historic House Museums

and complimentary memberships, use of vehicles and telephone,

The museum's personnel policy should contain information about

Governing the Historic House Museum

Historic House Museums

4025 Chestnut Street

Governing the Historic House Museum

THERE IS AN abundance of information about improving individual

National Museum Organizations

Where to Find the Help You Need