The conservation and restoration of insect specimens is the process of caring for and preserving insects as a part of a collection. Conservation concerns begin at collection and continue through preparation, storage, examination, documentation, research and treatment when restoration is needed.
Insect collecting can be done in many different ways depending on the kind of insects being collected and from which habitats. Both hobbyists and professional entomologist have found particular ways to collect with minimal damage to their specimens. Following established techniques helps begin the conservation of insect specimens from the beginning by eliminating as much potential damage as possible. It must be done delicately to ensure that neither the collector nor the live insect itself will cause harm to the distinctive features such as wings, legs and antennae that give purpose to the collection. Special collection nets, traps and techniques must be utilized in consideration of how easily breakage can happen. A kill jar is often used to immediately immobilize the insect before it can damage itself.
The way an insect specimen is prepared is often the first step in their conservation. They have to be carefully prepared with the appropriate methods depending on their size, anatomy, and potentially delicate features to ensure they will not break before they begin their role as a specimen available for study, research and display. Some specimens must be prepared using a dry method and others with liquid to preserve. The choice made will preserve key features necessary for identification and represent the insect's living form as closely as possible.
The process of pinning insect specimens is a dry method to preserve and display collections and requires special entomological equipment to accomplish effectively. [1] It is used primarily for hard-bodied, medium to large specimens and is beneficial for easier study and color preservation. Flies and butterflies, though they are partially soft-bodied, are also best preserved through pinning because when preserved in fluid their hairs and/or scales will either clot or fall off. [2] Some smaller specimens may still be pinned use minuten pins, which are much thinner, to avoid breakage. Insects are pinned on foam block or specialized pinning blocks that provide support for the limbs while drying and may be moved to another specialized, protected display case after they have dried completely, at which point they will be more brittle. The pin is most often driven through the thorax of the insect just to the right of the mid-line to preserve the appearance of at least one side should any damage occur from pinning. The exception is butterflies, dragonflies and damselflies, which are pinned through the middle of the thorax. [3] Enough of the pin must be left both above and below the specimen to allow for labeling below and handling. [3]
Carding is used when pinning would destroy too much of the specimen because its size is quite small. [4] A triangular point is cut from acid free card to ensure best conservation practice because it comes in direct contact with the specimen. A pin is then driven through the broad side of the point for mounting. A soluble glue that can be removed with solvents when necessary is used to adhere the right side of the thorax of the specimen to the point opposite the pinned side. The point is sometimes bent to allow the specimen to present in the same position as normally pinned specimens.
A wet specimen is a specimen preserved in fluid, often 70% alcohol. Specimens that would receive this preservation technique are usually soft-bodied, such as caterpillars, larva, and spiders because of their soft abdomens. This is done to minimize shriveling allowing the identifying characteristics to be preserved as true to life as possible. Hard-bodied insects may also be preserved temporarily in alcohol before pinning. [3]
Slides of very small insects are also kept as part of insect collections.
The American Institute for Conservation (AIC) describes in their Code of Ethics the aspects of conservation to include: preventive conservation, examination, documentation, treatment, research and education. Each of these areas also apply to the conservation and restoration of insect specimens.
Insect collections may suffer multiple types of degradation including fading colors from light exposure, mold growth from improper humidity and temperature levels, and infestations from pests that feed on dried insect, [5] but much of this is avoidable when proper preventive conservation practices are followed.
In addition to maintaining a clean storage environment for specimens, it is sometimes necessary to clean the specimens themselves. Cleaning incredibly delicate and brittle dry insect specimens is done carefully and methodically. The conservator chooses the appropriate method based on the kind of insect that needs cleaning and how robust it is. Cleaning tools vary widely, but generally clean watercolor brushes are used to gently dust the specimens, sometimes with a stereo microscope for very small specimens, warm water and/or alcohol baths used with or without an ultrasonic cleaner, and lens blowers to gently blow away dust, or dry the specimen after a cleansing bath. [6]
A common way to prevent damage from pests intent to feed on insect specimens and dust accumulation in a collection is to keep them in sealed boxes or cabinets. [7] When properly sealed, they can also aid in preventing damages cause by relative humidity (RH) and temperature fluctuations. [8] Wet specimens are kept in separate vials or jars and in a secure cabinet, tray or shelf. Fluid levels are regularly monitored to ensure specimens are completely immersed in fluid, though a well-sealed jar or vial will prevent excessive evaporation. [3]
Proper handling for insect specimens prevents the excessive breaking of legs, antennae and other body parts that could then easily be lost. Curved forceps may be used to allow more precision and less chance of the brittle specimen coming in contact with the handler. The handler picks up the specimen by the pin, which is placed with enough space below the specimen for the handler to put in the pinning block and enough space above to grip without touching the specimen. [3]
Integrated pest management (IPM) is a specialized modern pest control used in museums. [9] All IPM systems begin with regular sanitation and monitoring of collections to detect castings from various pests, and checking insect traps laid out to capture and identify which pests are present. Some pests, such as carpet beetles and flour beetles, feed on dried insects. [10] When an infestation is present, treatment may be necessary. Freezing is commonly used to rid insect collections of pests. [11] Alternatively, inert gases may be used for an anoxic fumigation – depriving the pests of oxygen to exterminate, and in extreme cases chemical fumigation proven to be safe for collections and people may be used. [12]
Assessing the condition of an insect collection is done regularly and the results are recorded accordingly. The conservator observes the specimens in high detail remarking all areas of damage, or altered states of the specimen. Tools used during this process may include a strong light source, magnifying glass and handling tools that allow the conservator to pick up the specimen from the pin without touching it. The observations made during the examination process result in the conclusions drawn for a treatment plan if necessary. [13] The conservator is knowledgeable of the kinds of deterioration to look for specific to insect specimens.
The documentation of insect specimens is carried out in many different aspects of a specimen's existence. Documented information begins with the capture of an insect. The collector records information about capture method, place and date of capture and any relevant habitat information in field notes. This information is then transferred to labels and collection records. The documentation path then continues with every recorded observation or treatment the specimen receives. Killing agents, preservation agents, rehydrating agents, and fumigants are all important to record. [14] This then informs any future decisions for conservation actions.
As a minimum, labels contain the place and date of collection, and the identification of genus and species. On pinned insects, the labels are likewise pinned with the space left under the specimen on the same pin. [3] There are various ways to write the information on labels, but an ink that will not fade or come off in liquid is generally used. The paper is ideally 100% cotton or linen rag to avoid yellowing or embrittlement of the paper as it ages. [14]
With improvements in digital photography and web resources, many natural history museums have begun a new kind of documentation through digitization, bringing high quality images and associated information to anyone with access to the Internet. Large databases can hold vast amounts of information improving research efforts.
Scientific illustration of insects is an older technique used to preserve information about collected insects. It visually documents insects, and unlike photography, can add intellectual ideas about anatomy and behavior of the insect through artists' renditions. Scientifically informed observation of specimens combined with technical and aesthetic skill yields the highly detailed illustrations necessary for the documentation of each species that is illustrated. [15]
This area of insect specimen documentation comes after the close examination of specimens by conservators. The conservator records all of the visual information about the specimen that can be gleaned from detailed inspection. Conclusions are drawn from inspection and potential treatments are also documented to inform researchers and future conservators.
Researching the collections of insects provides important information that develops knowledge about ecology, human health and crops. [4] Well-kept records aid the researcher in identifying whether there are differences in an observed specimen because of damages, treatments or deterioration. Research of the insect collections in museums can lead to new discoveries of species, [16] and provide an important historical resource. [17]
Once a close observation reveals what issues are present in insect collections, the conservator makes a decision on actions to be taken. It is highly preferable that any treatment applied be reversible or done with little risk to the specimen. For example, broken limbs may be glued back on, which has traditionally been done with white glue. The advantage to white glue being that it is removable in warm water. [3] Another common problem is pest infestation. When dried insect collections have suffered an infestation, the affected specimens can be frozen or sealed with inert gases to kill the pests without harming the specimens. [12] Other treatments might include simply refilling wet specimens' jars with alcohol to ensure the specimens are completely submerged, cleaning specimens of dust and debris, or repositioning specimens for display or research. In the case that a specimen needs to be repositioned, the conservator will "relax" the specimen in a jar with a rehydrating substrate to move the limbs without breaking them. The technique used will vary among conservators. Some use a relaxing jar that the specimen is left in for days with the substrate of choice, others may choose to use a warm water bath with a drop of detergent. Whatever treatments are used are diligently documented.
Conservation of insect specimens is done in large part to preserve the information for the public. The display of collections in museums and their interpretation offer one avenue that accomplishes this effort. However, websites offer a unique opportunity to disseminate information to a broad audience with layers of information to give general information or to provide depth where desired. These websites are often also provided by museums and their collections. Below is a list of some major educational endeavors with interests in insect specimens.
Insect collecting refers to the collection of insects and other arthropods for scientific study or as a hobby. Most insects are small and the majority cannot be identified without the examination of minute morphological characters, so entomologists often make and maintain insect collections. Very large collections are conserved in natural history museums or universities where they are maintained and studied by specialists. Many college courses require students to form small collections. There are also amateur entomologists and collectors who keep collections.
The conservation and restoration of textiles refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation, heritage conservation as well as library preservation, depending on the type of collection. The concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which "contain" textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator.
Conservation and restoration of movable cultural property is a term used to denote the conservation of movable cultural property items in libraries, archives, museums and private collections. Conservation encompasses all the actions taken toward the long-term preservation of cultural heritage. Activities include examination, documentation, treatment, and preventive care, which is supported by research and education. Object conservation is specifically the actions taken to preserve and restore cultural objects. The objects span a wide range of materials from a variety of cultures, time periods, and functions. Object conservation can be applied to both art objects and artifacts. Conservation practice aims to prevent damage from occurring, a process known as 'preventive conservation'. The purpose of preventive conservation is to maintain, and where possible enhance, the condition of an object, as well as managing deterioration risks, such as handling and environmental conditions. Historically, object conservation was focused on the category of fine arts but now many different types of objects are conserved. Each type of object material, typically denoted by organic or inorganic then the specific medium, requires a specialized professional conservator and often requires collaborative work between museum staff, scientists, and conservators.
Collection maintenance is an area of collections management that consists of the day-to-day hands on care of collections and cultural heritage. The primary goal of collections maintenance or preventive conservation is to prevent further decay of cultural heritage by ensuring proper storage and upkeep including performing regular housekeeping of the spaces and objects and monitoring and controlling storage and gallery environments. Collections maintenance is part of the risk management field of collections management. The professionals most involved with collections maintenance include collection managers, registrars, and archivists, depending on the size and scope of the institution. Collections maintenance takes place in two primary areas of the museum: storage areas and display areas.
The conservation and restoration of books, manuscripts, documents, and ephemera is an activity dedicated to extending the life of items of historical and personal value made primarily from paper, parchment, and leather. When applied to cultural heritage, conservation activities are generally undertaken by a conservator. The primary goal of conservation is to extend the lifespan of the object as well as maintaining its integrity by keeping all additions reversible. Conservation of books and paper involves techniques of bookbinding, restoration, paper chemistry, and other material technologies including preservation and archival techniques.
Integrated pest management in museums, libraries, archives and private collections is the practice of monitoring and managing pest and environmental information with pest control methods to prevent pest damage to collections and cultural property. Preserving cultural property is the ultimate goal for these institutions. The pests come in many different forms: insects, mites, rodents, bats, birds, and fungi and the two most common types are insects and fungi. It is widely recommended that every museum have some form of pest control in place and monitoring system to protect their collection and that museums review their storage and museum facilities to determine how to best control and prevent pest infestations while utilizing an Integrated Pest Management plan.
A photograph conservator is a professional who examines, documents, researches, and treats photographs, including documenting the structure and condition of art works through written and photographic records, monitoring conditions of works in storage and exhibition and transit environments. This person also performs all aspects of the treatment of photographs and related artworks with adherence to the professional Code of Ethics.
The conservation and restoration of Tibetan thangkas is the physical preservation of the traditional religious Tibetan painting form known as a thangka. When applied to thangkas of significant cultural heritage, this activity is generally undertaken by a conservator-restorer.
The conservation and restoration of wooden furniture is an activity dedicated to the preservation and protection of wooden furniture objects of historical and personal value. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Furniture conservation and restoration can be divided into two general areas: structure and finish. Structure generally relates to wood and can be divided into solid, joined, and veneered wood. The finish of furniture can be painted or transparent.
A textile conservator is a conservator-restorer charged with the care, treatment, research, and preservation of textiles. Issues addressed by a textile conservator are generally related to the field of textile preservation, and include damage caused to textiles by: light, mold and mildew, insects, cleaning, surface cleaning, washing, mounting for display, and storage. Variations in textile types and "the diversity of the textile conservator's work makes it a very rewarding profession". Textiles are among the most fragile artifacts, as they are susceptible to damage from atmospheric pollutants, moisture, biological organisms, and environmental changes and care varies with size, shape, material, and condition issues, all of which a textile conservator must be well versed.
The conservation and restoration of clocks refers to the care given to the physical and functional aspects of time measuring devices featuring "moving hands on a dial face" exclusive of watches. Care for clocks constitutes regulating the external environment, cleaning, winding, lubrication, pest-management, and repairing or replacing mechanical and aesthetic components to preserve or achieve the desired state as specified by the owner. Clocks are typically composed of multiple types of materials such as wood, metal, paint, plastic, etc., which have unique behaviors and environmental interactions, making treatment options complex. The materials used and the complexity of clockwork warrant having a Horological Conservator complete the work.
The conservation and restoration of painting frames is the process through which picture frames are preserved. Frame conservation and restoration includes general cleaning of the frame, as well as in depth processes such as replacing damaged ornamentation, gilding, and toning.
The conservation and restoration of flags and banners is the process by which conservators work to preserve and restore flags and banners from future deterioration and damage. As a part of Conservation of Textiles, flag and banner conservation require the care of a skilled and well trained textile conservator, specifically trained in historical materials.
The conservation and restoration of feathers is the practice of maintaining and preserving feathers or featherwork objects, and requires knowledge of feather anatomy, properties, specialized care procedures, and environmental influences. This practice may be approached through preventive and/or interventive techniques.
The conservation and restoration of fur objects is the preservation and protection of objects made from or containing fur. These pieces can include personal items like fur clothing or objects of cultural heritage that are housed in museums and collections. When dealing with the latter, a conservator-restorer often handles their care, whereas, for the public, professional furriers can be found in many neighborhoods.
Conservation-restoration of bone, horn, and antler objects involves the processes by which the deterioration of objects either containing or made from bone, horn, and antler is contained and prevented. Their use has been documented throughout history in many societal groups as these materials are durable, plentiful, versatile, and naturally occurring/replenishing.
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports. Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind.
The conservation of taxidermy is the ongoing maintenance and preservation of zoological specimens that have been mounted or stuffed for display and study. Taxidermy specimens contain a variety of organic materials, such as fur, bone, feathers, skin, and wood, as well as inorganic materials, such as burlap, glass, and foam. Due to their composite nature, taxidermy specimens require special care and conservation treatments for the different materials.
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground, and an image layer. They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state.
The conservation and restoration of herbaria includes the preventive care, repair, and restoration of herbarium specimens. Collections of dried plant specimens are collected from their native habitats, identified by experts, pressed, and mounted onto archival paper. Care is taken to make sure major morphological characteristics are visible. Herbaria documentation provides a record of botanical diversity.
