 Our host, Susan Berger, on behalf of the FAIC, go ahead, Susan. Hi, everyone. How are you? I hope that you're all excited about this. I think it's going to be really interesting today. So I'll just run through my slides quickly here. The best way to keep it informed about us is by joining the listserv, which is C2CC Announce List. And this is the website to go there and join it. It's only for announcements. That means only one, two, at the most, three announcements a month. So it's not for communicating. It's for me to communicate to you. You can also like us on Facebook or follow us on Twitter. If you need help due to a disaster, this is the 24-hour, seven-day-a-week response number for assistance. And feel free to use it. And if you have any questions, you can post them on the forum, which is on our website. And you can register, and then you can post a question and you get answers from conservators. But this is all going to be changing. Sometime over the summer, our forum is going to move over to the FAIC's new HireLogic platform. And so it'll be pretty easy to use. And if you're already registered, you'll show up on it and you can opt in or out. So I look forward to that. And you can always contact me. This is my email address. And I'm happy to hear from you anytime if there's a problem. And coming up next month is a webinar on collections, emergencies, and lessons. It's about evaluating your emergency plan after an emergency. And then we'll have sort of a hiatus for the summer. And our next webinar will be in August. So check the website about that. And I'm going to turn this over to our two presenters today, Deborah LaCamera and Lorraine Bigrig. And so we're going to start right now. Go ahead. Hi. Thanks, Susan. Okay. Got the slides organized here. Hello. My name is Lorraine Bigrig. And together with my colleague Deborah LaCamera, we're going to help you get familiar with the most important features about the care and conservation of historic lobes. Unfortunately, our colleague and mentor, TK McClintock, cannot be present today for this webinar. His retirement duties have pulled him away, though he has been essential in crafting today's presentation. At Studio TKM Associates, we specialize in the conservation of a wide variety of Western and Asian fine arts and historic works on paper and the treatment of historic lobes is an area of particular interest and expertise. Collectively, we have studied the major collections in the U.S. and Europe and have exchanged information with professionals in those countries to understand how historic lobes should be stored, handled, displayed, and cared for when they are compromised in condition and or appearance. We are pleased to share our experience with you with the hope that your historic lobes can serve your collection and community as cartographic records and as engaging works of both science and the decorative arts. To better appreciate the globes in your collection, it is valuable to understand the history of their development and that their production depended upon the coordinated efforts of intellectuals and technicians including mathematicians, cartographers, instrument makers, engravers, printers, and publishers, a dizzying collection of experts indeed. The earliest known globe depiction is a second-century Roman sculpture called the Farnese Atlas, which is presumed to be a depiction of the star atlas by Hipparchus dating from 137 B.C. The stars and constellations on the globe are depicted as if the viewer is looking from the outside at a shell of stars surrounding the Earth. On the right, you see a 1606 Blau celestial globe for comparison. Maps are depictions used to identify both political and physical boundaries. While the ancient Greeks, Romans, and early Christians accepted that the Earth was a sphere and even developed a strategy to measure its circumference, they were ignorant of the size and disposition of landmasses. The so-called P&O maps from the late medieval period represented a European view of the known world with Europe on the left, North Africa on the right, and the Middle East or Asia at the top surrounding the Mediterranean. The understanding of this landmass was limited in scope by the formidable surrounding ocean. By the late 15th century, the picture of the world grew much more accurate with Atlantic voyages directed at route finding. At the same time that a flood of new information was reaching Europe, the work of the second-century librarian of Alexandria Ptolemy was rediscovered. His contribution was the identification of over 8,000 place names and the creation of the grid of parallel and perpendicular lines that served as a framework for recording their locations. This was the precursor to the system of longitude and latitude that we still use today. As this manuscript wall map of 1488 by Germanus Martellus in the Yale University Library shows, we have come to a much more recognizable portrait of the world, even without the full knowledge of the Western Hemisphere. The most important globe from this period of mapmaking and the oldest is the terrestrial globe by Martin Beheim, referred to as Erdapsel, which translates to Earth-Apple. It is now in the German National Museum. It dates from 1492 and measures 20 inches in diameter. It is a unique manuscript globe executed in ink and color on parchment that was reportedly commissioned by the Town Council of Nuremberg to evaluate the feasibility of trade with China. It was created just before the awareness of the new world reached Europe, as you see from the slide on the right showing the empty seas of the Western Hemisphere. When the techniques of printing on paper were brought to the publication of maps, editions became more numerous, more widely distributed, and more accurate by virtue of their comparison with one another. Both manuscript globes and maps would continue to be fabricated, however, for a clientele that sought a more luxurious product or that wished to keep any newly acquired geographic information to themselves. While different methods were proposed to have a flat sheet of paper conformed to a spherical surface, Martin Volte Muller is attributed with creating the now-familiar system of production in 1507. The design is printed as triangular-shaped sections called gores that are cut out and mounted as pieces that could be accurately aligned on a sphere. His gores were relief printed using wood blocks, which is a technique that allowed for little detail on a sphere measuring only five inches in diameter. The Volte Muller Globe is the earliest depiction of the Western Hemisphere, and it is the first time the name America appears. Just 30 years later in 1536, Gemma Frisius produced a globe with the design engraved in metal plates, printed, and then hand-colored. This allowed for much more detail, the capacity to revise the map's information, and the ability to print in larger editions. Here you see his 15-inch diameter globe. While in theory hundreds of prints could be made, no records exist to document the actual number of globes that were produced, and only a handful of these earliest globes survived due to their inherent fragility, exposure, and use over the almost 500 years since their production. Frisius was assisted in his production by Gerhard Mercator, whose own pair of 17-inch globes were produced between 1541 and 1551, and you see the terrestrial on the left. They were heralded for their accuracy of their content and the excellency of their design, and their form served as a prototype for the following three centuries of globe makers. This assembly was documented two centuries later by Dietaro in his Encyclopedia of 1757. The slide on the right is taken from the equipment and process of globe making page. I'll take a moment here to summarize the parts of the globe and the construction sequence. A sphere of two paper mache halves molded with linen claws over a metal or wood form were supported with a central wooden post. The outer layer was covered with a thin layer of plaster onto which the printed gores were mounted using paste. The lobby that you see here on the left has 36 gores, whereas the Mercator globe in the previous slide had only 12. To make for better registration of the design where the gores became narrow at the top and bottom, separate circular pieces were printed to cover the poles called collups. You will see detailed examples of these later on when Deborah is showing slides of various globe conservation treatments. For larger Formac globes, small weights or often a bag of lead shot was adhered to the interior surface of the hollow sphere so that the globe remained in the desired position when at rest. The sphere was clamped in a brass meridian ring. As you see here, the globe on the left and the meridian ring also in the Diderot slide on the right. The meridian ring was engraved with the degrees of latitude, which then sits in notches cut into the wooden horizon ring, which is supported by a stand. The bottom of the meridian ring sits in a notched guide, also known as the meridian guide, that allows for the full rotation of the globe in both axes. The horizon ring is also covered with printed sections of paper with the degrees of longitude to calculate the distance between two points, as well as illustrations of the zodiac that are used to calculate the position of the sun at different times of the year. A small compass could be set into the horizon ring or stand. While celestial and terrestrial globes were considered most useful for the teaching of astronomy, spherical geometry and trigonometry, which are essential to the study of navigation, a globe of this size, however, would have less practical value as a map in comparison to mariners, portal-end charts, or illustrated atlases. Here you see an atom's globe on a floor stand circa 1789 and a painting of George Washington and his family with the same atom's globe now in the collection at Mount Vernon. It has been recorded that four months after taking office, President George Washington directed his London agents, and I quote, to send me by the first vessel which sails for New York, a terrestrial globe of the largest dimension of the most accurate and approved kind now in use. End of quote. I thought that was very interesting just to know that he actually requested a globe so quickly. Dudley Adams, globe maker to King George III, took several months to craft the globe, which Washington undoubtedly consulted throughout his presidency and then placed in his study at Mount Vernon. As the quote above alludes to, this was an era when the pace of new information being introduced probably felt similar to our own information age, and the value of a globe was as much for the prestige and worldliness as education and curiosity. We often see globes depicted in painted portraits to signify intelligence as well as authority over foreign lands. Globes were produced in all the countries of Europe that held mercantile political or military influence. Information about their manufacture and distribution was spread throughout inventories, advertisements, and manuals, as you see in this inset example. The first globes produced in America were attributed to James Wilson of Vermont, who began production in 1811. The early productions were not uniform and the printed paper surface was either hand-colored or left uncolored entirely. In this slide, you see T.K. McClintock undertaking varnish removal on a Malby terrestrial globe. It is one of the largest printed globes from this period and is over a yard in diameter which translates into approximately 28 square feet of surface area, which then translates into endless hours of surface cleaning. In contrast, tiny terrestrial globes became popular in the late 18th century, fitted into cases lined with depictions of the constellations in true orientation. By the early 19th century, the great English firms published illustrated trade catalogs from which globes of different diameters could be purchased in a variety of tables or floor stands that reflected the current taste in furniture design. And here you see the circle for the globe, the Kerry globe that's depicted on the right. This phenomenon of having globes available in pairs is still out of favor after the 19th century, as the terrestrial globe achieved preeminence. By this time, the design could also be printed using color lithography, which was less time-consuming than hand coloring, but which had a much more mechanical appearance, as you see in the globe in the detail on the screen right now. By the 19th century, novelty globes were being produced. Some were inflatable, collapsible, and internally illuminated as seen in this grouping. The production broke with the convention of globe making of the past 300 years. And, of course, most of us are familiar with the plastic globes used in our grade school classrooms. As we finish discussing the history of globe making, we thought you'd enjoy taking a break to watch the short 1950s video of globe making from the British TV panse euclid titled, Globe Making, How the World is Made, producing 1955. And, Mike, if you can run that for us. It's been repeated. Here at a famous North London firm of geographers, 60,000 globes of the world are made every year. How the real world began has always been a fascinating study, but there's a set method of world making at these workshops, a complicated craft dating back to 1492 when the first known globe was made. Rounder solid ball of wood is built up a hollow shell of stiff paper which is then coated with plaster. Nine separate layers of plaster are applied to a thickness of 1 eighth of an inch. Molding takes about six hours, and a fine smooth surface is imparted to the world in miniature. Once the globe is set and dried, it passes to another department where the covering map is pasted on. Like restoring the skin to a peeled orange, the colored printed sections exactly cover the surface. But the covering process calls for a keen eye and steady hand. A fraction of an inch out will put the world miles out of joint. The globes come in a large variety of sizes and purposes, from an inch in diameter to six feet, and ranging in price from 16 shillings to a thousand pounds. The different types of globe include celestial, political, and relief, or slate colored spheres for use with chalks. Keeping with their subject, the globe makers have a world market. 90% are made for export. They're printed in all languages, including Russian, and the majority go to schools. From first to last, the complete job takes 15 hours. A final coat of varnish adds a protective shine. Nearly a hundred of the staff have been there for more than 30 years. While the rest of mankind does its best to blow the world up, they like building a new one. Well, we hope you enjoyed that video. It was a step back in time, but gives us a very clear idea of paper mache and plaster globe construction that haven't changed significantly over the past 400 years. So now we'll get back to distinguishing qualities of globes. As you see in these after-treatment studio photos, historic globes exhibit great variety of physical objects in their size and type of stands, but there are many common features as well. The sphere is a hollow construction of paper, mache, and plaster. The design was intaglio printed in black ink on laid paper. The gore shapes were then cut out and adhered to the sphere using a water-based adhesive, at least until the 20th century. Optional hand coloring was carried out on a sphere with watercolor, and later color printed using lithography. The surface would be coated with a natural or synthetic resin for saturation and for protection from handling. The sphere would be clamped into a metal or wooden meridian ring that allowed for its rotation, and may include an hour ring at the north pole. Let me get it. There it is. That's the hour ring. The meridian ring with the sphere was in turn set into notches in the horizon ring, as you saw in the previous slide, which allowed for the rotation of the sphere in the other direction. The horizon ring also has a printed and coated design and is supported by the stand itself. What these distinguishing qualities make clear is that a historic globe is a dynamic object. It has moving parts, number one. Number two, it was designed to be handled to access the information on its surface, but carefully handled. Number three, it is assembled from different materials with different degrees of fragility and aging properties. And number four, it is susceptible to damage from handling, exposure, and neglect. And therefore, number five, the care of a globe requires thoughtful planning. And lastly, number six, conservation is possible but requires specialized expertise to prioritize the compromises in condition and appearance that can and should be addressed. Now we move on to conservation and collections care priorities. Let's begin by helping you identify the priorities for the preservation of your historic globe. Not surprisingly, these are relevant to other works in your collection as well. First is the basic security of your building envelope and the stability of climate in your facility. The complex construction of globes results in differential response to changes in climate which can exacerbate inherent tensions. For example, swelling or warping of the wooden members that you saw on the internal structure of the globe can translate into cracks in the paper or plaster if they swell and work. Second is establishing policies for the use of your collections including research access, exhibition, and loans. Ideally, online access to your collection provides safe access for most researchers and interested parties so that risky handling and presentation can be reserved for supervised controlled situations. If your institution has the resources and is considering online presentation of your globe, we point you to the innovative digitization project that is taking place at the Osher Map Library. You can find their contact information in our handout. Third is storage facilities and individual housing that are appropriate for the type of object. Globes are a cross between cartographic records, works of decorative art, and furniture when there are large floor models. These can be housed in a variety of ways depending on your facilities and the anticipated use. It's not uncommon for globes to be on open display, especially those in floor stands. However, there is always the risk associated with airborne grime handling or accidental contact. Some historic globes have fitted covers or half-domes of acrylic for protection. Even a simple fabric or polyethylene sheet is beneficial. Otherwise, closed storage cases and shelving offer the most protection. For those of you in your smaller house museums, we remind you that globes are comprised of printed and hand-painted paper surfaces that are sensitive to ultraviolet light and fluctuations in both heat and humidity and therefore should not be displayed close to unprotected windows or near heat or water sources. Best housekeeping practices to reduce deposition of dust and grime include brushing with a soft synthetic fiber brush towards a HEPA vacuum nozzle fitted with a mesh screen on a setting that is just strong enough to pull the dislodged dust. No moisture or spray cleaner should be used. Feather dusters are discouraged due to the potential for scratching from the broken feather rib. All globe surfaces are delicate and there is potential for scratching at both the paper layer as well as the varnish. A simple soft bristle synthetic brush or hake brush with a bamboo or wooden handle are good options for dusting even without vacuuming. We caution you to beware of metal for rules for their potential to scratch. Use tape to cover them if necessary. Extreme care should always be taken and we recommend that you keep your storage and display space as clean as possible so that the globes themselves do not need to be dusted as often as the surrounding areas. And of course remember, jewelry should be removed as watches can scratch and even belt buckles if the globe is large. And of course pendant necklaces or land nerds that can swing out should be removed or tucked in. And for us nerds, no pens or pencils and shirt pockets behind ears are used as hairpins. Always be aware of the flexible tube of the vacuum as it can seem to have a mind of its own and can swing and easily knock the globe. Of course when the globes in your collection are being dusted, it is a good moment to look for any evidence of pests. Look for damage to the globes themselves or evidence of pests in the surrounding storage areas to be sure that your collection is safe. We will review more housekeeping and handling protocol later in the presentation. So let's get back to priorities for the globe collection as a whole. The fourth priority is intellectual control of your globe collection. In other words, identifying catalog what you have. A globe may have a cartouche that identifies the maker and date and older globes may have further inscriptions or dedication. If this isn't eligible or if this is eligible or doesn't provide sufficient information, the language of the inscriptions can point to a country of origin and the geographic or political boundaries and identification can serve to date the globe. There are websites that assist with the process of dating as well as major globe collections with online databases that can be used for reference. We list these and other resources in our handout. The fifth and final priority is a collection survey that places any object or your globes within an overall consideration of curatorial and conservation priorities followed by a more detailed assessment of the condition of individual objects. This will guide your consideration of treatment options and help you assess what can be done by you, by a conservator in general and when a specialist in globe conservation should be engaged. Now I will pass the microphone to Debra to delve more deeply into recommendations for detailed assessment of the condition of individual globes. Thanks. Hi, everyone. Let me just get set up. So let's jump right into the guidelines for the assessment of the condition of individual globes. Prior to handling your globe, always begin with an initial visual assessment. Even if you've handled your sphere in the past, the fragility of your globe can vary with time and exposure. Look around for vulnerabilities. This may mean actually getting down forward to inspect the underside of the horizon ring, the stand, and the southern hemisphere. You're looking for things like lifting paper, cracks in the sphere or stand, loose or displaced parts. I'm going to switch now. And, for example, on this slide, you can see a crack, a separation that occurred in the stand beneath the sphere. Often a flashlight is helpful with this kind of examination. If you feel confident that your globe is safe to touch, physically inspect your globe by gently touching stress points, such as the joints of the stand, attachments of the sphere, and the hardware. You can turn the sphere within the stand without being certain that it does not contact the horizon ring or the meridian ring. Aged globes very often can no longer be turned in their stand without damaging the sphere. But we will delve into that issue in depth later in the presentation. In the meantime, if you feel certain that your globe is steady in the stand, handle your globe by the structural portion of the stand, usually the base or the legs or both. Do not lift solely by the horizon ring as this can, depending on the construction, loosen the horizon ring on its base. Curiously, if you hear a rattle within your sphere when you turn or lift the globe, it may be the interior weight or the bag of lead shot that's become loose from the inside wall of the sphere and is rattling around within the hollow cavity. Don't be alarmed as this is common and is generally not problematic. To depart briefly, I'd like to mention the use of globes. We don't follow a hard fast rule about the use of gloves when handling globes. However, we generally recommend the use of gloves to prevent the transfer of moisture, oils, and dirt from your hands to the object. Nitrile gloves are preferred over cotton for good grip and sense of touch. When preparing to handle a globe, always begin with a clear work space. Always use two hands to support the globe. Additional common sense advice is to have two sets of hands available for the handling of larger diameter globes. Avoid carrying the globe across long distances. It's better to use a trolley when moving from place to place. When evaluating the condition and appearance of a globe, we understand that identifying compromises and evaluating safe handling due to the complex structure and combination of materials. This is why the conservation of globes is a specialty apart from general paper or objects conservation. An evaluation of conditions should be informed by connoisseurship. Familiarize yourself with historic globe collections. Know how globes from the same maker or similar time periods are supposed to appear when they have survived in good condition. So, let's move on to actual condition issues. Let's start with the basic dust, grime, and light exposure. Surface grime is extremely common unless there's been continuous attention given to protection or regular dusting over the lifetime of the globe. Dust and grime tend to be more pronounced on the northern hemisphere, of course, as well as the horizon ring, as deposition of dust is generally governed by gravity. Similarly, the effects of light will be worse on areas of the greatest exposure and less on those in shadow. Here you can see the top side of a blouse celestial sphere and the bottom of that same sphere out of its stand. Darkening, saving of hand applied color and general deposition of dust and grime clearly indicates which half of the sphere received the most exposure. Let me also mention that dust and grime will deposit on the paper where there are losses in the varnish. It can even deposit within the network of fine cracks in the varnish accentuating damage and resulting in uneven coloration of the sphere. To move on to darkening and discoloration, the plaster sphere surface is fairly benign environment for the paper glores. However, years of exposure undoubtedly caused the paper to become degraded. The paper can be weakened further and discolored by the widespread use of corrosive pigments in the hand coloring. For example, copper greens such as their degree turn a telltale brown. Similarly, iron containing colorants burn the paper substrate. But most often it's the natural resin varnish layer which darkens and discolors with age. We've all seen globes on which the varnish remains uniform in tone with relatively modest overall discoloration. In this case, the varnish lends the globe a warm, beautifully aged appearance. However, it's not uncommon to find that the varnish has darkened so significantly with age that it renders the cartography nearly illegible. In this slide you can see a range of varnish tones. The two Delamar showed two colors. This is a relatively lightly discolored varnish, moderately discolored. In the picture on the right you see a small terrestrial globe by the Astronomical Association of New York of 1852 which is almost completely obscured by the darkening of the varnish. Also, as I mentioned earlier, varnish can develop a fine crackle pattern similar to what paintings conservators call crackleure and can exhibit loss in large and small areas from embrittlement. Perhaps most importantly, conservators assess the condition of a globe by evaluating its structural stability. The various materials within a globe may respond differently to exposure and the changes in temperature and relative humidity that occur over time. Let's look at some examples of damage that have resulted from moisture exposure or moisture penetration. Moisture can cause separation of the paper gauze from the plaster surface. This occurs most commonly at the paper seams and can be seen as lifting paper edges or plaster cracks. These small damages have the potential to worsen with subsequent handling and can result in losses. Much you can see clearly in this example. Small cracks that develop in the plaster can be transmitted through the paper. In the worst cases, the two hemispheres of a globe can split at the equator and even more dramatically when ambient moisture penetrates the vertical seams of the paper gauze, it can cause the plaster to expand, crack, and separate at each of the gauze edges. This is called fastening and you can see the cracking and fastening beginning on this... Sorry, you can see these cracks forming and the fastening happening between the floor edges. Another example of moisture induced structural damage is the collapse of the poles. In larger, heavier globes, a depression can form in the south pole and a corresponding projection in the north pole. This is due to softening of the underlying globe structure, such that the sphere gives way at the points of contact of the interior armature. If these structural conditions are slight, they may not necessarily be problematic, but if they are pronounced, they certainly can lead to further damage. For example, because the meridian and horizon rings are often tightly fitted to the new sphere, any expansion or protrusion of the sphere can result in undesirable contact with other members of the assembly. A sphere may not be able to turn in its stand as it was designed to do without rubbing against the meridian or horizon ring, or even the base of the stand. This rubbing can lead to loss. You can see that here. Loss specifically here of the varnish, but then in these white areas, that's loss of design and the paper all the way down to the plaster support. Moving on to this physical damage caused by physical trauma, for example, bumping and dropping. Here you can see damage resulting from a blow to the sphere. A globe can have structural damage resulting from blunt physical trauma, ranging from a few small cracks to massive caved-in areas with radian cracks or losses. We'll discuss how these very large globes can be repaired later. Finally, I hesitate to mention one more example of major structural damage caused by physical trauma. This is a big loss of the full thickness of the plaster all the way down to the paper mache. You can see severe cracks radiating out from that area of damage. Finally, I hesitate to mention though it's important to see damage resulting from previous attempts at respiration or repair. However, well-intentioned it's very common to see attempts that have been made to repair and conceal areas of cracking and loss. Often these old repairs have aged poorly and become continually more visible with time. In the worst cases the repair materials themselves respond to temperature and relative humidity changes. These eventual changes can add additional stresses to the sphere and become the cause of further damage. So for conditions to look for when you're evaluating the furniture and metal components of the globe. The metal components can become tarnished and pieces can be lost. The wooden stands can be affected by the distortion of individual elements due to exposure by loosening of the joints and by soiling, abrasion and loss of coatings. More complex, gilded, painted or paper-covered stands are more susceptible to damage because of these fragile surface definitions. In summary, if a globe does not function as it should turning easily in its stand without a sense of instability or abrasion it can have more than one cause that has to be identified to solve the problem. So what can a collection manager do when a globe is found to have one or more of these compromises in condition or appearance? Bear in mind that globes are fragile complex assemblies and that however well-intentioned efforts at repair by non-conservators can often result in more damage. Along with safe storage and as thorough an examination as possible cautious care is the best approach. A paper conservator is usually the initial point of contact even if a specialist in globes is eventually called for. Contact the museum in your area to solicit a recommendation from the conservation department as an option as is using the American Institute for Conservation website where there is a specific section on how to find a conservator. Be prepared to send as much information as you can as well as overall photographs and details of the damages. If there is any question about the stability of the sphere or the safety of rotation within its stand it is important to identify where abrasion is taking place or where there are physical insecurities. First make sure that the meridian ring is sitting properly on the guide. It is very common to see the sphere damaged in this location by not being correctly positioned. If there is a set screw on the guide make sure that it is tightened. If the globe rubs against either the meridian ring or the horizon ring place a small piece of mylar between the surface and the ring to prevent further abrasion and avoid turning the sphere within its stand. If the rubbing is severe depending upon the construction of your globe you may be able to insert a collar at the point of contact of the meridian ring or at the meridian guide to lift and support the sphere. However prior to making this decision you need to be certain that you are not introducing stresses to the sphere at a new point of contact. In the most severe cases you may want to consider storing the sphere separately from the stand. That said removing a sphere from a stand is a delicate potentially risky endeavor and the decision should not be made lightly. You will need to prepare a new storage space for the sphere. An acid-free thick wall cardboard cylinder of a suitable diameter can be wrapped with velara and used as a comfortable base for the sphere while it is out of the stand. A sonotube from the board restore wrapped in a soft foam may be a short-term option so the materials are not storage quality. Here you can see a few of the temporary solutions that we use in our speaking. If there are loose pieces of plaster place any dislodged pieces in a tray for safety and speak to the conservator. Do the same for fragments of loose paper fragments. When considering cleaning a globe removal of surface ground beyond basic dusting should be less to experience conservator. It may seem straightforward but using an eraser with excessive force can damage the printed or hand-colored design or even the paper itself if the condition and susceptibility of such fragile materials is not accurately assessed. I just want to point out here that you see in the slide that we're using cotton gloves to handle the sphere. That's because this slide actually predates the availability of nitrile gloves to conservator so now we use nitrile instead. This colored varnish can be removed and you see it on the right being removed mechanically by carefully scratching away with the scalpel I'm sorry on the left is mechanical removal with the scalpel and then on the right you see varnish removal with solvents. However, this should not be attempted by someone other than a specialist as there are innumerable problems that can develop. The surface can be scratched the printing or painting media can be abraded ink and colors can be solvent sensitive or the solubilized varnish can be irreversibly driven into the absorbent paper substrate. Moving on to show some examples of structural repairs cracks in the plaster if they are limited and stable may not require repair. It may be best just to leave them alone. However, first instability cracks are gaping where pieces are out of alignment or lost then repairs become critical. In some cases it may be possible to inject an adhesive between the paper machet and the plaster or within the plaster itself to secure cracks or loose pieces. Here you can see a globe that has been strapped to hold it in alignment after the injection of adhesive at the equator. Alternately, it may be necessary to lift or remove cores using steam to gain access and repair the underlying plaster. Here you can see the callot being lifted from the pole in order to secure the plaster damaged before choosing photo. Then here in the after treatment you see that the plaster was repaired the callot replaced. In catastrophic cases the entire surface paper surface of a globe may have to be removed in order to facilitate repair of a completely compromised sphere. The materials used by conservators are always reversible, protein adhesives, and good quality Gesso to repair cracks and plaster losses. And wheat starch paste adhesive or methyl cellulose to re-adhere paper sections or separations from the surface. It's worthwhile to note that hand coloring and even the printed media can be very sensitive to moisture and that the paper itself can become very weak. For any exposure of the paper to moisture to facilitate repairs should be as limited as possible. When filling losses is called for the use of paper that is good quality and comfortable in thickness and texture is critical. A simple tone to match the surrounding background is usually sufficient to integrate the repair with the original design. Hand drawn additions usually look clumsy no matter how well executed. It is possible to replicate missing areas of design but it is very time consuming and requires access to an identical globe in good condition that can serve as a source for reproduction of the lost areas. Finding another example of the globe is often easier said than done though online collection catalogs are making that search easier. To restore a lost design the relevant section of an identical globe is photographed to yield a high resolution digital image. Color and surface irregularities are removed from within the digital image. The result is a black and white image similar to what the original printed image would have been. The digital image is transferred to an intaglio or lithographic polyester printing plate and printed on paper similar to the original. The newly printed image is trimmed to fit the lost and adhered in place with weed search paste. The fill can then be hand colored with water colors to match the surrounding colors. Any additional in-painting of a globe surface is undertaken after preliminary resizing with either methyl cellulose or gelatin to enable reversibility. Sizing is applied with an airbrush to avoid causing damage from excess moisture. The final stage of treatment is recoding with a low molecular weight natural or synthetic resin such as dimar with the addition of a UV stabilizer or Paralloid B72. The nature of repairs to the horizon ring are generally similar to those of the sphere but it's worth noting that the horizon ring may require extensive repairs. The metal components can be cleaned to reduce disfiguring corrosion. Missing pieces can be replicated. They are generally re-coated with lacquer to minimize future corrosion from handling or exposure. Similarly, the wooden stands can be cleaned and repaired by a furniture conservator working in conjunction with a rural project conservator. There are always historical variations to the traditional paper library globe. Some have more elaborate painted or gessoed and gilded stands. Others are wrapped in decorative paper. What this illustrates is that the conservation treatment of a historic globe is a cordless effort. Even globes that are in good original condition or that have been well repaired remain fragile assemblies. If the globe is going to be transported for display, examination or treatment, it is essential that a conservator be consulted. The best options will depend on how much distance traveled. But it usually involves creating as a single unit or as separate containers for the sphere. In digesting our description of the potential compromises in condition and appearance of a historic globe and the methods of conservation, it may seem that there are preservation procedures that a collection manager can undertake. In fact, being able to identify whatever compromises exist and initiating good quality and well thought out policies for their accessibility for research and admiration is the foundation of good preservation. We hope that these descriptions of how historic globes can be cared for and conserved help you make better informed decisions about your own collection. Please contact us if additional help is needed in the decision making process and please make note of the resources that are listed here and in your handout. Thanks very much for your attention and it's time to answer questions. Okay. Are there any questions? If there are, please put them in the questions comments box. That was really neat. Thank you. I recommend that everybody go and listen on YouTube to the little movie because it has a speech on it which we did not include because it changes the bandwidth. Oh, sorry. That would be terrific if people could watch it again. I think they would enjoy it a lot. Right. It looks like there are a few people writing in some questions. That was really neat. So how many globes have you worked on? We have an actual account on that. We have worked on actually collections of globes that are relatively manageable. So the Hispanic Society collection in New York as well as the Osher Map Library collection have had big conservation grants and we have worked on a big group from both of those collections. And then of course globes that come from collections of all sides as well as private individuals. Yeah. It's in the hundreds. In the hundreds, really. Well, it's too bad that our friends in Bosnia can't get you to come and work on their globes. I've never been in Bosnia. Yeah. Well, let's see. I see there's some people that are typing in stuff. Are they? Come on, type faster. Okay. Okay, so Lauren Beutel in Victoria says, can you go over the part about infilling with a printed info again? Sorry, I didn't quite get it the first time. Yeah, sure, no problem. So this is the slide she's referring to, I presume. So the process that we use is a modern take on the traditional intaglio printing technique and that allows us to use oil-based printing inks that will age the same as the original printing inks on an intaglio printed globe. But how we do that is basically we have to find a globe that's identical to the one that we're restoring. We take photographs of that globe or we have them taken for us and we start with a high-resolution digital image. Then using Photoshop, we basically clear out all the noise in that digital image so that's usually any hand-applied color, any signs of age or where. We remove that from the digital image so that what we get is what as closely as we can resembles what the original printed design would have looked like when it was printed on the paper before it was applied. You can see that in this insert it's already been inserted oops, here's my arrow, sorry. You can see that here it's already been inserted into the globe. This is printed on a piece of paper that matches the texture and thickness of the paper on the sphere. The technique that I was talking about is we use polyester printing plates and that's a very new method just in the last decade or so. You can use polyester printing plates just like you would a copper plate for an Italian print with the exception that it doesn't hold up as long so you can't make as many copies but for our purposes we only need one really good copy. We use that printing plate and we have a printer in our area a master printer in our area print that. She mixes up inks that we approve the color of the printing ink and she mixes it up for us and she runs a few copies impressions from the plates for us. Then we pick the one that we like the best to insert it into the loss within the sphere. So here you see we've trimmed it to the exact size of the loss and adhered it in place with wheat starch paste. We basically make sure that we align all of the design elements, all the longitudinal lines are aligned and then once it's inserted the cosmetic works to tone it to match the hand coloring. Are there two losses here? Yes. This one here is a smaller one. That's distracting. So actually the sphere had many more than just one but this was the easiest one to detect. There's one also right here. Lauren Doodle asks, what's the advantage of polyester plates over traditional plates? Basically we don't have the ability to etch copper plates in our studio so if we were going to do a traditional fill with a traditional intaglio plate we would have either have to engrave it or etch it into the copper ourselves and neither of us are master printers so we can't do that. So what this does is it allows us to essentially take our digital image and directly transfer it onto a printing plate without having to do any step of etching or engraving in between. So it's a really quick and easy cost efficient way for us to get what looks like a traditional printed. Lauren Well you know with photo mechanical reproductions you could probably do exactly the same thing. You could photo mechanically reproduce this on a copper plate also but you then need to photo sensitize your copper plate, expose your digital image to the copper plate. There's many, many more steps and what we're trying to achieve is to get a very stable fill essentially. So this is a really great very efficient cost effective way to get a very very stable fill. Before this polyester printing option became available we delved into using digitally printed fill pigment based digital prints to fill lost in globes but the tricky part about that is that the digital image changes differently than the traditional printing on the globe. So it's not as comparable as the material with the best possibilities for long term compatibility. So in this way we get a really good result and we can feel confidence that our use of materials is going to age in a similar way to the original materials. That makes sense. Yeah. Okay. So it looks like we don't have any more questions. Please fill out the evaluation. They're really important and we do pay attention to them. And the webinar recording will be posted probably today or tomorrow or even the next day. And with it will be the YouTube link, the handout anything else we think of the PowerPoint slides and the recording. And those will be available if you have friends who weren't here today. And thank you all so much for joining us. And thank you to Lurayn and Deborah for participating in this. We really appreciate it. And I hope we'll see you all next month when we do Live and Learn about re-evaluating your emergency plan after an emergency. So thanks.