Samples were taken from di�erent parts of the skirt for the analysis to determine the nature of materials. By combustion test and microscopic mor-phological examination, it was found that 90% of the �bers in the skirt are silk (brackets in damask, satin applications and threads for sewing and embroi-dery); and the rest of the �bers are cotton (at waistband and hem). It was found that aniline was used for dyeing the damask and iron gall was used in dyeing the satin by UV light examination and chemical analysis.

The most challenging part is the study of the blue embroidery and metallic threads. In one of the yarn sample, indigo was identi�ed by Raman microscopy and it is not common in Mexico that these two materials are used together. Softwood (angiosperm) paper pulps were identi�ed in the metallic threads by microscopic examination. By analysing with SEM-EDS, it was found that gold foils with small percentage of silver lead and iron were wrapped around the paper cores with a layer of clay applied on the paper.

With this information, the skirt could be dated; at �rst it was believed that the skirt belonged to the late eighteenth century. This hypothesis was rejected since the use of wood paper began at the nineteenth century but became popular and expanded its uses until the end of this century;2 In addition, the blend of traditional and industrial techniques (dyeing with natural and arti�cial colorants and manufacture of metallic yarns) indicate a much more recent manufacturing process, which could indicate the opening of the Chinese market to the West World.

The analysis also served to understand that the depolymerization of black silk satin was caused by the acidity of the dyes used for staining. After using selective staining tests and chemical analysis to identify the dyes, pH test were carried. These analyses con�rmed that the iron gall dye had been used that cause the acidity to degrade the black �bers and all the embroidery threads placed over the fabric.3

Magdalena Abdó mariablab@hotmail.com · Itzel Espíndola tatisz.27@gmail.com · Adrián Pérez plujahar@hotmail.com · Daniela Merediz dannymerediz@gmail.com

Chinese skirt from the Qing dynasty

This Chinese skirt belongs to the National History Museum of México (NHM) and was studied and conserved in the National School of Conservation, Restoration and Museography (ENCRyM) by the Textile Conservation Treatment Workshop Seminar.

This dress carries the characteristics of the clothing in the Qing dynasty (1644 - 1911) which was the last imperial period in China.1 From the literature research, the history of this type of skirts was obtained, but it was impossible to determine the exact date of entry to Mexico or the reasons of accessioning it by the NHM. After some researches, the team figured out

Separation: it was necessary to split the waistband from both of the silk damask supports.

Veiled: the skirt’s parts were placed between two nylon organza fabric, sewed through basting to mark out the piece’s perimeter. It was necessary to sew certain spots in order to prevent any kind of movement during the washing process.

Washing: the damask was dry cleaned with trichlorethylene. The waistband was washed with water and canasol 5%.

Consolidation: in this process we used two types of consolidants, one from oriental origin and the other from pre-Hispanic origin. Funori-sorbitol (1:1) and Tzhautli were applied on the silk satin fabric and embroidery bands. The metallic threads were also glued and consolidated using Funori as an adhesive for the paper sheet.

Brackets: applications of silk pongee supports dyed in a similar color of the areas on which certain structure had been lost.

A�x: it was made on the unstable embroidery areas using two-ply yarn silk thread.

Silk tulle netting: they were sewed throughout the twenty-four twist, around the embroidery panels and throughout the hem as a preventive measure.

Funori: is a mucilage derived from three di�erent species of red marine algae. They can be found on the coast of Japan throughout the year; it is considered to be a traditional adhesive in this country. The Funori is soluble in water and it’s used as a consolidant in restoration because it minimizes the risk of optical changes including the unintended gloss.4

Tzauhtli: is soluble-in-water and derived from orchids. It was used ever since the pre Hispanic era in Mexico as an adhesive to create feather art, and is mentioned on the chronicles of Fray Bernardino de Sahagún.5 The Prostechea citrina used in this conservation treatment is grown at the ENCRyM’s green-house. It is used in research programs as well as a consolidant for textile.

The advantage of using natural consolidants is that they are non-toxic pro-ducts, and are more compatible with other fabrics than synthetic materials. In the case of Mexico’s Tzhautli, it comes from a self-sustaining project, being that is produced and consumed at the ENCRyM, helping in conservation of the Prostechea citrina orchid, since it is a protected species in México.

Acknowledgements

We particularly thank the Textile Conservation Treatment Workshop Seminar, specially the conservator Lorena Román, who runs this seminar and guided our intervention. We would also like to acknowledge the participation of our classmate Ignacio del Real and the advice of the sta� and teachers from labora-tories of Biology, Geology and Chemistry of the ENCRyM. Finally, we thank Anacani Ramón for the poster design and the NHM by providing this skirt for its study and conservation treatment.

1 Hays, M. V. (1989). Chinese Women's Skirts of the Qing Dynasty. The Bulletin of the Needle and Bobbin Club, Vol. 72. Online resource: http://www.cs.arizona.edu/patterns/weaving/articles/nb89_skt.pdf

2 Montagna, P. N. (2013). Cinética y capilaridad efectiva en la impregnación kraft de Pinus sylvestris. Master’s thesis. Argentina: UNL. Online resource: http://bibliotecavirtual.unl.edu.ar:8180/tesis/bitstream/1/537/1/tesis.pdf#page=15

3 Tímár-Balázsy, A. & Eastop, D. (1998). Chemical Principles of Textile Conservation. USA: Taylor & Francis.

4 Andrina E. (2014). Potentiality of Funori to restore physical breaks of deteriorated cellulosic fiber. Belgium:

CeROArt. Online resource: http://ceroart.revues.org/3899.

5 Núñez, F. (2013). Análisis y evaluación del mucílago de la Prostechea citrina para su uso como adhesivo y consolidante en sedas altamente deterioradas. Undergraduate thesis. Mexico: ENCRyM-INAH.

The whole process of research and the conservation treatment, represen-ted challenges at di�erent stages. As students, we understand the impor-tance of documentation and registration of cultural property and materials for better knowledge, analysis and di�usion. The importance of the conser-vation treatments of this object lies not only in learning that brought us as students working with an object with organic and inorganic materials but that the piece has been reassessed because it present unusual techniques on Mexican textiles, like silk dyed with indigo and metallic threads.

This piece is quite interesting due to the fact that it does not belong to the Mexican textile heritage, so the historical contextual along with the technical manufacturing processes and materials, generated new lines of research within the seminar.

During the conservation treatments, it was necessary to obtain samples in order to do both identi�cation and material compatibility tests. The information provided by this analysis was vital to determine the �ber stabi-lization treatment without causing more decay.

[b]

Funori treatment

Prostechea citrina orchid

Introduction

that there are two more skirts similar to this; additio-nally this skirt is one of the only two textile heritage objects manufactured with a peculiar kind of metallic threads in Mexico.

The lack of references and similar skirts make it difficult to find integral information about the manufacture methods and history; therefore it was necessary to carry out a number of technical analyses to determine the materials nature, manufacturing techniques and to understand the conservation problems.

Depolymerized satin before treatment

Characterization and treatment of unusual materials and techniques in Mexico

Conservation treatment of a

Before treatment

After treatment

1 Analysis

2 Conservation treatments

4 Conclusion

3 Natural Consolidate

Embroidery threads, 40x Metallic threads, 35x