guidelines for museums

8/8/2019 Guidelines for Museums

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Guidelines for MuseumsDr. Jesus T. Peralta

Character of a Museum

The collection o most small museums is an admixture o many things. Whilethere is nothing wrong in collecting many classes o items, this practice has tobe given some thought i there is a choice. There have been many instances

where ater some time, a collection is needed to be rid o items which hadbecome incongruous in terms o class or quality. It might be practical to deneat the outset the objectives o the museum so that the collections can be madeto support these objectives. In eect, one has to dene the character o themuseum. This character will help the curator determine, or instance, what typeo structures and acilities are to be made available in terms o study, storage,conservation, and exhibition. There are general category museums like theNational Museum, and specialized museums as the Metropolitan Museum o

Manila, the Museo ng Bahay Pilipino, and the Central Bank Money Museum. Theneed o the community is at times one o the actors determining the charactero a museum.

In most cases, the museum curator is conronted with a conglomeration o objects the choice or which he had no control whatsoever. Optimistically,the items collected are originally rom and refect the community where themuseum is located.



Collections

A collection may be built and augmented in a number o ways:

1. eld collection2. donation3. purchase4. exchange

When an object in the collection is acquired, the most important considerationis that inormation accompanies the object. The inormation should includedata on the object itsel and socio-cultural milieu. Although the collectionitem itsel is a primary data source, and accompanying data merely secondary

source, there is nothing more rustrating or a curator than to have an objectwith nothing but the act o its existence in his hands. One cannot be toodetailed in obtaining data on the collection item like the ollowing:

• name o the object• the ethnic group o origin• place o origin• description

• material (s) used• unctions• name o parts• unction o parts• manner o use• denition o user (s)• who / how produced• accompanying ritual (s)

• ownership• distribution

Documentation

It is imperative or a museum to documents its collections, which at the veryleast is composed o a list o the various items. The list names the objectsand states how many o each there are. There are various orms o museum

records:

1. Accession Record/ registry2. Catalogue3. Photographic record4. Database



1. Accession Record/Registry

A very important consideration is that each object must bear a number whichcorresponds to the list. The number must be marked on the subject itsel. Thisis called the accession number, which is usually coded. The code is usually

devised to suit the purpose o the museum. This should contain the most basicinormation about the object e.g. the year o acquisition, the provenance, asuccession number:

92-I-25

The example represents 1992 as the year o acquisition; Iugao as the ethnicgroup rom which the object came; and the object is the 25th item acquired

that year rom Iugao. The ollowing must be remembered about accessionnumbers:

1. It should not attempt to code all the inormation.2. It must be short.3. It must be written permanently on the object.4. The number should be written small, but legibly.5. It must be written on the discreet part o the object where it is not

likely to be rubbed o; and where it is not too obvious, speciallywhen displayed.6. It must not be repeated on another object.7. It should be structured to ollow the classicatory system o the

collection.

Sometimes, eldmen use a eld number which they use to identiy theseobjects until these are brought to the museum where the permanent accessionnumbers are assigned.

The Accession Record o a museum contains the basic inormation about theitems in the collection among which are:

1.1 Accession number1.2 Date o acquisition1.3 Name o object1.4 Provenance

1.5 Brie description1.6 Recorder1.7 Notes



The accession records constitute the museum register.

-760-

6395 Object quiver (native name - kubokub)

Tribe NegritoLocality Balangkawitan, 3 hrs E. o Ragai, Camarines

How obtained by purchase rom Lucas

Description

Collector J.M. Garban, Jan. 1913

Cost 40 cts. e

6396 Object guitar (native name -- gitada)

Tribe

Locality

How obtained

Description

Fig. 1 Segment o page rom a National Museum registration record.

2. Catalogue

Each o the accessions should have an individual catalogue cards. The cardshould contain all the inormation about the object:

2.1 Accession number2.2 Date o acquisition2.3 Recorder2.4 Name (s) o object (common, local, oreigner, etc.)2.5 Provenance2.6 Collector2.7 Manner o collection (purchased, donated, etc)2.8 Description

2.8.1 Dimensions2.8.2 Material (s)2.8.3 Physical description2.8.4 Function (s)

2.9 Acquisition value2.10 Condition2.11 History2.12 Publication (s)2.13 Location in storage/exhibition2.14 Photographic/negative number2.15 Sketch or photo o the object2.16 Notes



National Museum(Ethnology)

Catalogue No ______________Old Acc. No _______________

Object

English Name ______________________________________________Vernacular Name ___________________________________________Ethnic Group Collected From _________________________________Own Name ________________________________________________Popular Name ______________________________________________Locality ___________________________________________________How Museum Obtained ______________________________________Value o Material ____________________________________________Collector’s Name ___________________________________________Date Collected _____________________________________________Date Received _____________________________________________Recorder __________________________________________________Date Recorded _____________________________________________Storage Location ___________________________________________(Photograph)015688 (Over)

Fig. 2 Front o a National Museum catalogue card.

3. Photographic Record

Where expedient each object o the collection should be photographed,preerably upon acquisition. Photographs should include a scale to indicatethe size o the object, and the accession number. At least, contact prints o thenegative strips should be made. The contact prints should be lled with thenegatives. The contact print and negative o each object should be identiedwith the accession number o the object. When the condition o the object isnot normal, damaged portions should be clear on the photographs.

E|-|3|5|0|5

Fig.3 An ethnographic record photograph



4. Computer database

With microcomputers and database sotware now readily available withminimal capital outlay the setting up o inventories becomes relatively easy.Making backups and hard copies or printouts o all les is absolutely a must.

One must not rely solely on computer database les. Storage disks like harddisks are notoriously unstable and short-lived. It should be noted that computerdatabase les only supplement the ordinary manual system o documentation,which is the primary system.

While computers are nice to have around, these also require people who knowhow to make them work. Training and keeping personnel in this eld areconstant problems. Unless the museum is handling a tremendous amount o

data, which, among others need to be analyzed, then a manual system mightbe more practical.

The application programs locally available to create databases are DBase IV andFoxPro. Another, Superbase, is rather slow but had graphics capabilities, i.e. theimage o the collection item can be stored or displayed with the data.

Structure or Database : B: Ethnoinv.DBF

Number o data records : 5346Date o last update : 04/12/90

Field Field Name Type Width Dec Index

1 Ethn_group Character 30 Y

2 Arti_type Character 30 Y

3 Eng_name Character 30 N

4 Vern_name Character 30 N

5 Provenance Character 20 N

6 Acc_num Character 15 N

7 Datecollec Date 8 N

8 Collector Character 30 N

9 Acquiprice Numeric 10 2 N

10 Total value Numeric 10 2 N

11 Condition Character 30 N

12 Notes Memo 10 N

13 recorder Character 30 N

14 Last_update Date 8 N

Fig. 4 Sample o a computer database structure.



Physical Facilities

The acilities a museum requires correspond basically to the various steps inthe processing o specimens or collection items. The ideal certainly is to haveadequate space in the museum premises to carry out all the unctions. Wherethe ideal does not exist, provisions should be made or vital unctions to becarried out.

1. Fumigation/ Cleaning

A collection item that has just come in and is newly registered ordinarily undergoestreatment. The nal phase o treatment is cleaning o the item or object just beoreit is placed with the rest o the collection. The reason is that it might be inected with

ungus, wood borers, etc., which may contaminate other items in the collection.Fumigation is imperative. In the absence o umigation chambers, other means canbe resorted to, as illustrated on page 30, depending on the type and size o objects.(discussed more ully under the Conservation Section)

2. Storage

Most small museums do not have provisions or storage. Storage space is

imperative not only as the usual little closets and rooms reserved or oceequipage and acilities but also and more so or collection items. A museumcontinually collects even though exhibition space is usually limited. Rotation o exhibitions require space or keeping items not on display.

The storage area should be near enough to the curator and the exhibition areathat it services. The ollowing are among guidelines to be strictly observed:

• No one should hold oce in the storage.• No ood or drink should be taken inside the storage area.• Only umigated/cleaned specimens should enter the storage.• Everything that goes in and out o the storage should be recorded.• Items should be stored systematically easy retrieval.• No smoking inside the storage room.• Only authorized personnel should be allowed inside the storage room.

Storage SystemCollection items should be classied while in storage. The items may begrouped according to type o items, e.g. baskets, clothing, agricultural tools; orby ethnicity, e.g. Tagalog, Ilocano, etc.; or by material e.g. wood, metal, etc. Forconservation purposes, storing by material is recommendable since it is easierto treat, or instance, textiles as a group instead o individual pieces scatteredall over the collection.



The key, o course, or retrieval is through a cross-indexed le combined with asystematized storage. An item when taken out should be returned to the sameplace.

I available, acid-ree paper should be used to line shelvings. The shelving

section should be identied so that each item has its own particular slot.

I the object is removed, a piece o paper noting the removal o the object, thedate, where the object was taken, the purpose and by whom, should be putin its place. This is apart rom the logbook, which records the entry and exit o items. The ollowing are some do’s:

• Stack materials with no objects touching them or placed on top o another.

Allow air circulation between objects.• Do not roll or old materials. Textiles can be rolled around a tube.• Keep area ree o dust.• Use gloves in handling specimens. There is acid on your hands.• Use both hands in holding specimens. Handle items as gently as possible as

i all these are very ragile. Restored objects are specially ragile. Check onwhich is the saest place to hold.

• Allow only trained personnel to handle items.

• Use only sot illumination in the storeroom.• Allow adequate ventilation to maintain an even temperature in the room.• Fumigate the room periodically.• Provide re-ghting and rescape acilities.

Exhibition

Curators should take a keen interest in visitor proles in order to make the

museum eective in a community. The population o museum visitors sharesgeneral characteristics. Among these are:

• The art audience is rom a narrow segment o the population, generallywhite collar and well-educated.

• The sexes are just about evenly represented.• Museum visitors at least have some college education.• People tend to go to museums with others.

• Many are repeat visitors.• Museum attendance vary seasonally with the least during the summermonths.

• The museum visitor spends an average o ve minutes in an exhibition, andless in an art display.



• The average visitor’s attention span is about thirty seconds per exhibit in ascience museum.

“The majority o the public appears to be gaining little or nothing other thantrivial impression o the exhibits” (Zyskowksi, 1968).

• Only a small percentage o visitors make use o printed guides.

• Education and place o residence are important determinants o museumattendance.

• Museums actualize the experiences o the visitors.• While adding to knowledge, museum exhibits tend to ampliy eelings.• Some orm o visitor participation is advantageous in maximizing the eects

o a museum visit. There are belies, however, that visitors expect to remainpassive, preerring to be let on their own.

• Education is the best predictor o museum attendance.

• The museum visitor has a wide variety o interests and backgrounds.• The museum visitor has limited time.• The museum visitor is physically exhausted ater a visit and oten

overwhelmed by too much sensory inputs.• The average museum visitor is not anxious or more inormation or

educational materials on museum collections. Most people do not readdisplay labels. Keep children in mind with respect to labels.

In sum, museums provide dierent services or dierent people. Visitors havedierent personal interests, thus a museum visit cannot be structured. Amuseum should thereore aim to provide a wide range o opportunities ortheir visitors to choose rom, making the museum experience unique or eachindividual.

The primary concern o many museums is display o the collection items.Limitations o space call or well organized exhibits and periodic rotation. Mostmuseums tend to display everything at once.

The exhibition gallery should be well-ventilated, dust-ree with some means tocontrol light, temperature, and humidity. This would mean that the gallery bean enclosed hall with no windows through which direct sunlight could enter.Windows, too, can get in the way o the placement o exhibition acilities andvisitors trac fow.

No general lighting or the hall is needed but a large number o outlets should

be well and conveniently distributed throughout the room; on the base o thewall, the fooring, or the ceiling, would be recommendable. This would allowtapping o power as needed.



It is advisable or small museums to opt or display structures that aregeneralized, that is, designed to accommodate dierent kinds o objects withvarying sizes. There are three types o display structural acilities needed:

1. Shadow boxes

2. Pedestals (glassed or unglassed)3. Display panels

Display acilities should be highly adaptive to various needs. In case o shadowboxes, the glassed portion should be deep and high, which could accommodatea number o related objects rather than just one. Some means o providingadequate ventilation or the displayed object must be made, specially i high-intensity lighting is to be used which will increase temperature inside the

showcase. O course, specially valuable objects warrant a special case.

Where storage space is a problem, the bottom part o display cases can beutilized or storage i constructed as such and provided with access.

Pedestals, to save on space, can be made into sizes that can nest inside oneanother. There must be some means to lock the glass tops to the bases. It isbetter to have a large pedestal holding a small object than vice versa, so large

sizes are better. Large ones also are more stable.

Sucient number o assorted sizes o small boxes to be used as individualpedestals o smaller objects inside a display case should be available.

Display panels should be dismountable so that these can be stored in as small aspace as possible. To last longer, perorated panels are recommended becausethings can be laid out on them without the continual use o nails. It is preerablethat the panels are double-aced.

Conservation

All materials change through time. Conservation merely retards the rateo changes to perpetuate the condition o an object. In general, rapid andrequent changes in the physical environment o an object will lead to itsearlier deterioration. A relatively stable environment without the extremes is

thereore ideal or conservation o museum objects. the Philippines is ortunatein being in the tropics where the fuctuation o climate is not to the extremes. The dierence in annual temperature is not that pronounced. In act, thedierence in temperature between day and night is greater. The problem ismore with respect humidity or our environment has plenty o this. Countries intemperate regions have greater museological problems due to the fuctuationo environmental conditions to the extremes.



Attacks o insect and ungi, are constant threats. The most common insects thatare the bane o museologists are wood borers, silversh, cockroach, termites,moths, and bookworms. The museum should be umigated periodically. Non-residual umigants are preerable.

To avoid the growth o ungi, extreme temperature changes and dampnessshould be avoided. Thymol crystals can be used to inhibit the growth o moulds. This must be used with care. It should not be used near oil paintings, paintedwoodwork, etc. because it can soten many paints and lacquers.

Pollutants

Even clean air contributes to the decay o specimens due to its oxygen content.

Atmospheric pollution aggravates the situation or museums particularly withrespect to carbon monoxide, sulphur dioxide, hydrogen sulde, and the sootrom insuciently burned uel rom motor vehicles. Dust is dangerous orthis provides the nuclei or water condensation and the start o chemical andphysical reactions. Nearness to sea poses dangers o the corrosive eects o salt. The only eective control o air pollution is air conditioning. Where this isnot possible ree air ventilation with ltration may be used.

Temperature

I the temperature range can be managed then this should be kept within therange o 20ºC ± 2ºC as most collection items will not deteriorate as quicklyat these temperatures. A simple room thermometer will do to measure thetemperature. In the absence o air conditioners, electric ans or other orms o ventilation will suce.

Humidity

A relative humidity o 50-55% is recommended. I the relative humidity goesabove 65% and the temperature is also high, moulds will develop and destroymany objects such as textiles, pigments and paper. Hygrometers are used tomeasure relative humidity. In the absence o these, one can more or less eelincreased humidity by a eeling o heat, oppressiveness and stickiness o theskin.

Electric ans which can circulate air continually during hot and humid weathercan help arrest the development o such ungi since these preer dark, dampand warm places to be able to grow. Dessicants in small dishes inside displaycases can help. Charcoal and silica gel substitute in small storages to keep stabletemperatures and relative humidity.



Light

Light has a deleterious eect on certain materials like pigments, inks, dyes,paper, textile and the like. It should thereore be controlled. Natural light hasboth ultra-violet and inra-red rays. Ultra violet rays can cause chemical changeson some objects while inra-red light or heat can eect physical changes.

Ultra-violet ltering plexiglass can be used in rames and cases instead o glass. Fluorescent lights can also be covered by these lters. There are lightingacilities like Philips TL-37 which have ultra-violet ltering components.

To control inra-red rays the amount o light alling upon an object should belimited. Spotlights give o excessive heat.

The amount o light that alls upon an object should receive seriousconsideration. Maximum luminance is measured in lux units. A 100 watttungsten incandescent bulb has an illumination o 14 lux at a distance o 1.5meters, at 30 degrees angle. Using this as comparison, the ollowing are themaximum illuminance recommended or museum objects:

50 lux: Textiles, clothing, watercolors, tapestries, prints, drawings, manuscripts,

wall paper, dyed leather, natural history collections like botanical and zoologicalspecimens.

150 lux: Oil and tempera paintings, undyed leather, horn, bone, ivory, andOriental lacquer work

300 lux: Stone, metal, glass, ceramics, jewelry, enamel, wood

Objects should be exposed to lighting only or minimum periods.

Emergency Conservation

1. Wood

1.1 Remove dust or dirt with sot brush. Clean stubborn dirt with cottonswab and distilled water, moving in one direction only.

1.2 Replace missing parts. Cracks can be lled in with sawdust with methylcellulose. Sandpaper to remove excess.

1.3 Insect attack can be controlled with umigation or the use o insecticidesby spraying, injection or brushing.

1.4 I wet or water-logged, keep wet and soak in water to remove solublechloride that might have come rom the soil or sea water. Call experthelp rom the National Museum.



2. Copper and Copper Alloys

2.1 Mechanical cleaning should be done on the suraces using dental tools,ne chisels and scalpels.

2.2 Degrease by using acetone to remove other impurities and greasy

coating.2.3 Do not remove entirely corrosion products since these may contain

details.2.4 Distilled water can be used to wash away corrosion or soluble chlorides.2.5 Aggressive cuprous chlorides are removed using 5% oxalic acid solution

and sot brushes.

3. Iron

3.1 Do not wash or scrub iron objects. Water will accelerate the corrosiveprocess.

3.2 Objects ound wet or aected by sea water must be kept until experthelp is obtained. An inhibiting solution o 2% sodium hydroxide may beused in packing it.

3.3 Consult experts.

4. Textiles

Textiles are dedicate and need extra care and handling.

4.1 Photograph and document details, e.g. materials, weaving techniques,dimensions, condition, etc. beore treatment.

4.2 Test or astness o dyes.4.3 Test or strength o bres.4.4 Vacuum clean gently.4.5 Flatten olded portions and creases.4.6 Roll on board with acid-ree paper, e.g. Japanese paper.4.7 Store in a clean, well-ventilated room with good environmental controls.4.8 Avoid intense light.4.9 Store in wooden cabinets lined with starch-ree cotton or polyester.

5. Ceramics and Glass

Ceramics (earthenware, stoneware, porcelain) and glass are generally stableand require only simple hygiene.

5.1 Mechanical cleaning is generally sucient.5.2 Ceramics and glass rom underwater sites may have in them harmul

chlorides, which need to be removed by soaking in distilled water orlong periods.



6. Basketry and Mats

These are prone to degradation since the materials are organic.

6.1 Know the kind o plant materials.

6.2 Mechanical cleaning using cotton swabs and distilled water withammonia to remove oil and grease, and dirt.

6.3 Organic solvents like alcohol, acetone, toluene and petroleum may alsobe used. Test or the appropriate

solvent. Use the weakest.6.4 Marks, tapes, adhesives should be removed.6.5 Condition the bres by relaxing these so they can be reshaped without

breakage.

6.6 Store baskets and mats in relatively dark, cool ventilated areas. Non-airtight plastic bags may be used. Donot place one on top o another. These should not sag under their ownweight.

6.7 Mats should be rolled or stored fat like textiles.

Security

All museum collections should be protected rom:

1. Mishandling by personnel2. Thet3. Fire4. Water5. Vandalism

Sta members should be taught how to hold or carry an object o dierentkinds, e.g. painting, sculpture, ceramics, baskets, etc. Training is needed inopening a book, stacking paintings, taking materials out o a rame, carryingan object rom one place to another; the use o tapes, the acidity o bare handsand so on. In act, in-service training is indispensable in the handling o all typeso museum objects in all possible situations or processing steps in the museum.It is atal to assume that people automatically know how to handle objects.Mishandling is one o the greatest actors that contribute to the deterioration

o an object, and this is an area where museums tend to be most guilty.



The museum should be secured rom thet. The threat can come rom within,outside and the security system itsel. All means o entry, including rom theroo, should be studied and secured. Control over keys to locks o entrancesshould be an ongoing concern, including the duplication o these. Theselection o security personnel and how they would be disposed should be

well considered. Bonded security rms should be preerred but their personnelshould be trained or the needs o a museum.

I there is a possibility or the installation o an alarm system, then this shouldbe done. There are many systems available but the selection must be suited toa particular situation and need. Inra-red sensing devices that create invisiblecurtains can be more eective than the photo-electric cell devices that usebeams o light. It should be kept in mind that burglar alarms give a alse sense

o security. It should be remembered that alarms must also be secured.

Fires are always possible. Preventive measures are ideal besides being thecheapest. Possible sources o re should be checked periodically like theelectrical wiring, presence o fammable materials like volatile uels, chemicals,waxes, oil soaked cloth, etc. Fire extinguishers should be distributed in keyareas, and personnel should not only know where these are but also how touse them. The sta should also know and be trained on what to do in case o

re. Fire drills should be held regularly. Foam and water-type extinguishers cando more damage to collection items than anticipated. Extinguishers that donot leave residues should be preerred.

Water can be as dangerous to collection items just as re and should be avoided.Storage areas should be above ground level to avoid ground water and foods.As much as possible there should be no water pipes in storage areas. Water canalso come rom leaking roo gutters or ill-placed pipes. Always be aware that thepresence o water is damaging to collection items so that even in conservationprocesses it must be used with care.

Vandalism is a problem that can be prevented or minimized by the visibilityo security personnel. An understanding o this can be considered in thelayout and placement o objects, e.g. roping o sensitive areas; the use o glass;placing susceptible objects near security areas. Usually, an exhibition layoutthat exposes the visitor to view at all times is highly preventive.



Recourses for a Museum

1. General cleanliness o the storage, exhibition and curatorial areas shouldbe constantly maintained.

2. Control o environmental conditions.3. General security rom thet, re and water.4. Maintenance o a registry and documentation, including the

documentation o the conservation processes used in any object.5. Periodic umigation preerably by trained personnel.6. Emergency conservation.7. Use o white cotton gloves in handling specimens to protect these rom

the acid and oils o the skin.8. Use o water-soluble adhesives.

9. Mounting and storing o objects in acid-ree containers, including photosand negatives.

10. Use o proessional conservation help when necessary. The Chemistryand Conservation Laboratory under the Anthropology Division o theNational Museum in Manila is the best equipped or this type o work notonly in terms o equipment but also o personnel. Technical assistancecan be made available upon request. (tel. no. 527-0307)

Fumigation with Paradichlorobenzene (poison)

1. Single small objects

Place the object to be umigated in a plastic bag or envelope, then sprinkleit with some paradichlorobenzene crystals. Seal the opening completely with

tape. Leave the bag or at least two weeks out o direct sunlight.



2. Multiple or large objects

To treat sheets o documents (1) cut two pieces o Japanese paper one inchlarger than the document. (2) Place Japanese paper on glass sheet and weight

on document. (3) Place two-sided tape on melinex leaving a gap. Place the othersheet on top. Japanese paper is the least acidic o papers locally available.



Reference:

Abinion,Orlando

n.d. Field Conservation o Marine Artiact, Chemistry and Conservation Laboratory,

National Museum, Manilan.d. Museum Environment, Chemistry and Conservation Laboratory, NationalMuseum, Manila

A.C.T. Members

n.d. Exhibition and Storage Recommendations or the Small Museum, Institute orthe Conservation o Cultural Material.

August, Raymon S.

1983 Museum: A Legal Denition. Curator, American Museum o Natural History, 26:2Johnson, E.V. and J.C. Horgann.d. Handbook or Museum Collection Storage. Drat

Zyskowski, Gloria

1983 A Review o Literature on the Evaluation o Museum Programs, Curator,American Museum o Natural History, 26:2.

1991 Training Report on the Care, Maintenance and Basic Conservation o MuseumArtiacts, National Museum

About the Author:

Jesus T. Peralta is a Bachelor o Philosophy graduate rom the University o Sto. Tomas,with a Master o Arts in Anthropology rom the University o the Philippines, and a Doctoro Philosophy in Anthropology rom the University o Caliornia. He was Director III o

the National Museum until he retired in 1997. Most interestingly, he is also a ten-timewinner in the Carlos Palanca Memorial Awards in Literature in the eld o playwrighting.He has more than 120 scientic papers and publications on anthropology, archaeology,and general culture to his name. He is the author o The Tinge o Red, Glimpses: Peopleso the Philippines and Insights into Philippine Culture: Festschrit in Honor o WilliamHenry Scott. He now works as a Consultant or The National Commission or Culture andthe Arts (NCCA)-MIS.



NATIONAL COMMISSION FOR CULTURE AND THE ARTS

633 General Luna Street, Intramuros 1002 Manila

Tel. 527-2192 to 98 • Fax 527-2191 & 94

e-mail: [email protected]. • website: www.ncca.gov.ph

guidelines for museums

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