TSG Postprints: Keyword index
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Contributors:
Robin Hanson
Keyword Index[edit | edit source]
Dates[edit | edit source]
| 12th century | 20:67 |
| 18th century | 16:55, 19:145, 21:17 |
| 19th century | 8:1, 15:19, 18:72, 20:128, 20:167 |
| 20th century | 15:19, 22:70 |
A[edit | edit source]
| accelerated aging | 2:14, 9:51, 15:75, 20:135 | |
| access | 15:53, 19:180, 21:54, 22:1, 22:7, 22:123, 22:138 | |
| acidity | 5:20, 5:79 | |
| adhesion | 12:45 | |
| adhesive | 1:17, 11:19, 13:13, 13:69, 15:43, 16:87, 19:184, 19:187, 20:128, 21:17, 22:70 | |
| adsorption | 3:28 | |
| advocacy | 22:1 | |
| aesthetics | 21:81 | |
| African | 17:1 | |
| agar | 22:78 | |
| aging | 20:115 | |
| Agora (Athens, Greece) | 12:25 | |
| aircraft | 12:57 | |
| aldehyde | 10:39 | |
| Alexander Ramsey House (Saint Paul, Minnesota) | 14:33 | |
| alginate | 11:1 | |
| alpaca (fiber) | 13:53, 14:99 | |
| American | 20:9, 21:54 | |
| American Colonial | 16:31 | |
| amino acid dating | 22:55 | |
| Anatolian | 17:17 | |
| Andes Mountains | 17:81 | |
| animal material | 22:55 | |
| anoxia | 8:9, 10:55 | |
| antependia | 9:25, 20:88 | |
| Aquazol™ | 19:187 | |
| archaeological objects | 6:55, 7:7, 7:12, 11:59, 12:25, 13:53, 18:88, 19:129 | |
| armatures (structural frames) | 21:30 | |
| armchairs | 12:67 | |
| art history | 12:105 | |
| artist’s intent | 17:107 | |
| Asia | 2:31 | |
| authentication | 17:17, 17:63 | |
| Azerbaijan | 20:22 |
B[edit | edit source]
| backing (textile) | 7:57, 10:89, 13:69, 14:85, 20:67, 20:128, 21:17 | |
| banners | 20:76, 20:128, 22:7 | |
| bark cloth | 17:1 | |
| batting | 13:13 | |
| beads | 17:1, 21:68 | |
| beadwork | 7:35, 21:68 | |
| bedcovers | 4:7, 20:102 | |
| Belize (Altun Ha) | 12:11 | |
| belts (costume accessories) | 18:56 | |
| bergères (armchairs) | 18:1 | |
| Bertoia, Harry (1915-78) | 14:115 | |
| Bhutan | 16:65 | |
| binder (material) | 7:40 | |
| biodeterioration | 9:1 | |
| bleach | 14:11 | |
| bleaching | 8:15, 8:27, 14:1, 15:75 | |
| bleeding (seeping) | 22:78 | |
| borohydride | 8:27 | |
| broadsides | 4:7 | |
| bronze (metal) | 12:37 | |
| budgeting | 9:53 | |
| building plans | 19:24, 19:33, 19:52, 19:66 | |
| burial | 1:46 | |
| burials | 12:25 | |
| burning | 14:65 | |
| Buyid | 17:63 |
C[edit | edit source]
| calcium sulfate | 12:119 | |
| Canada (Québec) | 9:25 | |
| cane (plant material) | 4:27 | |
| candlewick (yarn) | 4:7 | |
| cannonballs | 11:27 | |
| canvas | 21:1 | |
| capillary electrophoresis | 22:55 | |
| carbonyl | 10:39 | |
| carboxylic acid | 10:39 | |
| carpets | 2:46, 9:37, 17:17, 19:171, 20:22, 21:81 | |
| Cashin, Bonnie (1915-2000) | 21:54 | |
| catalogs | 4:39, 4:45 | |
| cataloging | 22:138 | |
| cathedrals (buildings) | 14:65 | |
| cellophane | 10:39 | |
| cellular telephones | 22:32 | |
| cellulose | 10:25, 19:129, 22:116 | |
| cellulosic | 8:27, 10:39 | |
| chairs | 14:115, 20:41 | |
| chelating agent | 5:69, 19:145 | |
| chemical analysis | 10:1, 14:115, 17:17, 17:81 | |
| chemical properties | 13:53 | |
| Chile | 7:117, 20:128 | |
| Chile (Arica) | 7:7 | |
| Chinese | 12:37, 19:102, 19:116, 19:180 | |
| citric acid | 19:145 | |
| Civil War (United States) | 18:38, 19:129 | |
| cleaning | 1:6, 1:17; 2:7, 3:7, 5:12, 5:15, 6:17, 8:63, 9:19, 9:37, 11:47, 12:57, 12:85, 12:105, 13:35, 13:45, 14:11, 14:23, 14:99, 14:105, 14:115, 18:1, 18:72, 19:145, 19:171, 19:184, 19:194, 20:67, 21:17, 21:68, 22:63, 22:78, 22:106 | |
| cleaning compound | 19:89 | |
| clients | 9:53 | |
| clothing | 1:26, 1:46, 3:38, 6:9, 7:50, 8:45, 9:1, 43, 10:69, 15:43, 15:87, 16:31, 16:41, 16:55, 16:65, 17:1, 17:31, 18:21, 18:72, 19:52, 19:89, 19:102, 19:116, 20:9, 21:30, 21:42 | |
| coating (material) | 15:83, 19:102, 19:116 | |
| coil-spring seats | 18:1 | |
| collaborating | 7:117, 9:49, 15:9, 16:21, 16:55, 18:88 | |
| collaboration | 20:67, 21:1, 22:19 | |
| collections care | 9:49, 14:125, 15:1, 15:53, 15:87, 16:65, 18:21, 18:88, 19:52, 19:66, 19:102, 19:116, 20:22, 20:55, 20:102, 20:157, 22:46, 22:63 | |
| collections management | 7:7, 10:15, 14:125, 15:1, 15:31, 18:21, 21:54, 22:7, 22:46 | |
| color (perceived attribute) | 22:103 | |
| color changes | 18:1, 20:144, 20:181, 22:103 | |
| color shift | 22:116 | |
| colorant (material) | 7:63, 12:11, 20:181 | |
| colorimetry | 3:19, 5:79, 13:13, 22:103 | |
| coloring (process) | 22:123 | |
| communication (function) | 22:1, 22:46 | |
| comparative analysis | 20:144 | |
| composite material | 17:47 | |
| composite objects | 21:1, 21:54 | |
| computer-aided design | 22:91 | |
| computerization | 6:37 | |
| condition (changing process) | 12:85 | |
| condition assessment | 19:156, 22:63 | |
| condition reports | 7:12, 21:54 | |
| conferences | 4:39 | |
| conservation in action | 22:1, 22:7 | |
| conservation centers | 7:80, 7:87, 9:53, 15:1, 19:10, 19:24 | |
| conservation materials | 20:55 | |
| conservation philosophy | 21:1, 21:8, 21:81 | |
| conservation policy | 20:157, 21:1 | |
| conservation principles | 21:81 | |
| conservation science | 16:75, 22:19, 22:138 | |
| conservation surveys | 22:46, 22:63 | |
| conservation theory | 4:7 | |
| conservators | 4:17, 7:117, 8:79, 9:45, 9:53, 21:8, 22:42 | |
| consolidant | 19:187 | |
| consolidation | 2:66, 16:87, 19:187, 20:128, 21:17, 22:63, 22:106 | |
| construction techniques | 17:1, 21:30 | |
| contemporary art | 20:1 | |
| Cooper-Hewitt National Design Museum (New York, New York) | 16:21 | |
| copper (metal) | 12:85 | |
| corrosion (condition changing process) | 12:85 | |
| cost benefit analysis | 19:194 | |
| costume accessories | 14:125 | |
| costumes | 20:9, 22:42 | |
| cotton (fiber) | 9:1, 22:116 | |
| cotton (textile) | 4:7, 6:17, 9:19, 11:19, 11:47, 14:23, 15:63 | |
| cowrie shell | 16:87, 17:1 | |
| cradles (framing and mounting equipment) | 7:89 | |
| craftsmanship | 17:1 | |
| crazy quilts | 15:19 | |
| creases (conditions) | 12:85, 21:68, 22:63 | |
| crepeline | 8:1, 20:128 | |
| culturally sensitive objects | 22:106 | |
| cyclododecane | 14:1, 22:78 |
D[edit | edit source]
| darkening | 22:116 | |
| databases | 8:71, 22:138 | |
| decision making | 5:39, 11:11, 15:9, 15:16:15:21, 15:31, 15:55, 20:76, 20:88, 21:1, 21:8, 21:17, 21:68, 21:81, 22:46, 22:63 | |
| deels | 20:67 | |
| deformation | 19:156, 20:128 | |
| degradation | 20:115, 22:116 | |
| deionization | 5:15 | |
| deionized water | 5:12 | |
| design (discipline) | 19:1 | |
| detaching | 20:115 | |
| detergency | 19:89 | |
| detergent (cleaning compound) | 19:89 | |
| devotional objects | 22:106 | |
| digital cameras | 22:138 | |
| digital imaging | 15:31, 15:53, 16:75, 19:77, 19:156, 20:31, 22:91, 22:138 | |
| digital photogrammetry | 19:156 | |
| digital prints | 20:31, 22:91 | |
| digital reconstruction (computer image-making process) | 22:91 | |
| digitizing | 19:180 | |
| disassembling | 18:72 | |
| disaster planning | 3:38, 8:39, 14:65, 19:52 | |
| disaster recovery | 3:38, 5:39 | |
| discoloration | 10:55, 11:1, 20:128, 22:116 | |
| disinfecting | 14:11 | |
| distortion | 20:1 | |
| documentaries (motion picture genre) | 22:7 | |
| documentary photography | 15:19 | |
| documentation (activity) | 6:31, 6:37, 8:45, 10:101, 12:105, 15:9, 15:19, 15:31, 15:53, 17:63, 17:107, 18:72, 19:16, 19:77, 19:156, 19:180, 20:31, 21:42, 21:54, 22:7, 22:138 | |
| dolls | 12:105, 14:93 | |
| dress (culture-related concept) | 19:102, 19:116, 19:180 | |
| dresses (garments) | 14:23, 18:56, 18:72 | |
| dry cleaning | 6:94, 8:63, 9:43 | |
| drying | 2:1, 8:53 | |
| dry cleaning /exhibiting | 22:63 | |
| dye | 5:12, 6:79, 6:91, 10:55, 11:1, 11:19, 13:95, 17:17, 20:181, 22:78 |
E[edit | edit source]
| EDTA | 22:78 | |
| education | 6:31, 15:37, 20:121, 22:1, 22:19 | |
| embrittlement | 19:187 | |
| embroidering | 14:1, 17:81 | |
| embroidery (visual works) | 20:88 | |
| energy dispersive x-ray spectroscopy | 9:1 | |
| engines | 12:57 | |
| environmental control | 15:1, 20:128 | |
| environmental impact | 19:89 | |
| equipment | 5:53, 5:79, 6:31, 19:10, 22:138 | |
| ergonomics | 8:79, 9:45 | |
| ethics (concept) | 1:17, 7:35, 9:53, 17:107, 20:88, 21:1, 21:8, 21:17, 21:68, 21:81 | |
| ethnographic objects | 11:1, 12:75, 14:99, 15:9, 16:87, 17:1, 19:102, 19:116, 19:145, 20:121, 21:68, 22:55 | |
| ethnographic objects /interdisciplinarity | 21:1 | |
| Europe | 5:53 | |
| evaluation | 20:9, 20:102, 20:144, 21:17 | |
| exhibit cases | 13:1, 16:21, 20:128 | |
| exhibiting | 3:7, 6:9, 6:12, 6:14, 7:50, 7:89, 7:94, 9:19, 9:25, 9:49, 10:69, 10:89, 11:11, 14:23, 14:55, 14:77, 14:99, 15:9, 15:43, 15:75, 16:31, 16:65, 17:31, 18:56, 20:9, 20:55, 20:88, 20:102, 20:115, 20:157, 21:30 | |
| exhibitions | 7:35, 22:32 |
F[edit | edit source]
| fading | 10:55, 15:75, 20:135, 20:144, 20:157, 20:181 | |
| fancy dress | 18:72 | |
| fans (costume accessories) | 3:57, 22:63 | |
| fashion | 16:55 | |
| fashion design | 21:54 | |
| Fashion Institute of Technology (New York, New York, United States) | 21:54 | |
| fasteners | 20:115 | |
| fatty acid | 3:7, 13:27 | |
| faux suede | 17:31 | |
| feather | 12:45, 22:63 | |
| felt | 20:1, 22:123 | |
| Federal | 20:41 | |
| fiber | 8:71, 10:25, 11:27, 13:53, 14:65, 15:83, 19:77, 19:129, 21:42 | |
| fiber optics | 20:135 | |
| filing | 19:16 | |
| filling (process) | 7:50, 7:63, 8:1, 12:67, 16:75, 18:1, 20:128, 22:91, 22:106, 22:123 | |
| filmmaking | 22:7 | |
| finding aids | 21:54 | |
| finish (coating) | 10:1 | |
| fire prevention | 13:1 | |
| fireproofing agent | 13:1 | |
| fires | 14:65 | |
| flags | 9:19, 9:49, 10:109, 14:85, 20:76, 20:128, 22:1 | |
| flattening | 11:19, 12:85 | |
| floods | 8:45 | |
| fluorescence | 17:17 | |
| folk costume | 20:67 | |
| forgeries (derivative objects) | 10:15, 17:47, 17:63 | |
| Fourier transform infrared spectroscopy | 10:25, 17:81, 19:129 | |
| fragility | 19:145 | |
| frames (furnishings) | 3:7 | |
| framing (processes) | 10:89 | |
| freeze-drying | 8:53 | |
| freezing | 12:75 | |
| fumigating | 8:9 | |
| fund raising | 22:1 | |
| funding | 15:53, 22:19 | |
| fungicide | 14:11 | |
| furnishings | 14:55, 16:11, 22:116 | |
| furniture | 4:17, 4:27, 7:108, 14:33, 14:115, 18:1, 20:31, 20:41 |
G[edit | edit source]
| galleries (display spaces) | 16:21 | |
| gel | 19:184 | |
| glass (material) | 3:7, 17:1 | |
| Glenbow Museum (Calgary, Alberta) | 18:21 | |
| goat hair | 16:87 | |
| goatskin | 16:87 | |
| gold | 6:17 | |
| gowns | 20:9 | |
| grass (plant material) | 14:55 | |
| grave goods | 6:70, 6:79 | |
| guidelines | 16:41, 16:55, 16:65 | |
| gum resin | 12:1 | |
| gypsum | 12:119 |
H[edit | edit source]
| Hampton Court Palace. Textile Conservation Centre (England) | 7:80 | |
| handkerchiefs | 18:38 | |
| handling | 15:43 | |
| hangers (costume equipment) | 10:69, 12:133, 15:87 | |
| hats | 5:87, 6:17, 16:87 | |
| hazardous substance | 7:40, 11:47 | |
| hazardous waste | 19:89 | |
| health | 8:79 | |
| heat | 13:13, 14:23 | |
| hemp | 11:27 | |
| Herter Brothers (act. 1864-1906) | 18:1 | |
| high performance liquid chromatography | 7:23 | |
| historic house museums (buildings) | 16:11, 22:46, 22:123 | |
| historic houses | 14:33, 14:55 | |
| historic sites /housekeeping | 22:46 | |
| history of conservation | 7:80, 7:117, 10:10, 10:75, 10:89, 21:8, 21:81 | |
| history of conservation /interpretation | 21:17 | |
| history of technology | 12:37 | |
| Hyde House (Glens Falls, New York) | 16:11 | |
| hue | 22:103 | |
| humidification | 21:68 | |
| hygroscopicity | 2:14 |
I[edit | edit source]
| identification | 15:83, 21:42, 22:55 | |
| image databases | 21:42, 21:54 | |
| image processing | 6:37 | |
| imitation leather | 17:31 | |
| indexing | 19:16 | |
| India | 22:19 | |
| Indian (South Asian) | 11:19 | |
| Indiana State Museum (Indianapolis, Indiana, United States) | 22:32, 22:138 | |
| indigenous people | 20:121 | |
| indigo (colorant) | 11:19 | |
| infills (lacunae areas) | 22:123 | |
| information management | 21:54, 22:138 | |
| ink | 14:23 | |
| inkjet printing | 18:1, 20:31 | |
| inkjet printing /lacunae | 22:91 | |
| inkjet prints | 16:75 | |
| inpainting | 8:1, 22:106 | |
| insect damage | 16:87 | |
| installations (exhibitions) | 16:55 | |
| installations (visual works) | 16:21 | |
| interdisciplinarity | 22:106 | |
| international cooperation | 20:22, 20:67, 22:19 | |
| internship | 3:65 | |
| interpretation | 6:31, 17:107, 19:180, 21:68 | |
| interviewing | 22:42 | |
| interviews | 17:107 | |
| iron (metal) | 18:38 | |
| iron-gall ink | 20:167 | |
| Israel (Masada) | 7:23 | |
| Italianate | 16:11 |
J[edit | edit source]
| James J. Hill House (Saint Paul, Minnesota) | 20:31 | |
| Japan | 2:14 | |
| Japanese | 12:105 | |
| jewelry | 12:45 | |
| jute (fiber) | 2:60, 5:39, 15:63 |
K[edit | edit source]
| kapok | 12:11 | |
| Kuba (Democratic Republic of Congo style) | 17:1 | |
| Kwakiutl | 15:9 |
L[edit | edit source]
| labeling | 18:21 | |
| laboratories | 5:9, 5:15, 19:1, 19:10, 19:16, 19:24, 19:33, 19:43, 19:52, 19:66, 19:77 | |
| lacunae | 20:128, 22:123 | |
| Lakota | 15:9 | |
| lamps (lighting devices) | 14:115 | |
| large-format | 6:14 | |
| Late Intermediate period | 7:7 | |
| leaf (metal) | 17:81 | |
| leather | 6:17, 7:57, 12:67 | |
| legislation (legal concepts) | 19:89 | |
| letterpress printing | 18:72 | |
| Library of Congress (Washington, DC) | 19:24 | |
| lifting (transporting) | 19:129 | |
| light (energy) | 8:15, 13:13, 14:23 | |
| lighting | 20:157 | |
| linen | 2:60, 6:17, 12:119, 14:1 | |
| lining | 2:66, 3:57 | |
| lining (process) | 13:95 | |
| lining (process) /mounting | 22:106 | |
| liquid chromatography | 22:116 | |
| liturgical objects | 17:81 | |
| Los Angeles County Museum of Art (Los Angeles, California) | 1:26, 3:38 |
M[edit | edit source]
| machine lace | 22:70 | |
| Madagascar | 16:65 | |
| madder (colorant) | 22:116 | |
| maintenance | 22:46 | |
| Mamluk | 6:17 | |
| man-made | 17:31 | |
| mannequins (costume equipment) | 10:69, 14:23, 16:31, 18:56, 20:9, 21:30 | |
| mantles (outerwear) | 14:99 | |
| manufacturing techniques | 17:31, 17:107 | |
| Maori | 11:1 | |
| marine environments | 9:1, 11:27, 18:38, 19:129 | |
| markers (drawing instruments) | 14:23 | |
| marketing | 22:1, 22:32 | |
| mass spectrometry | 22:55, 22:116 | |
| matrix-assisted laser desorption ionization | 22:55 | |
| Maya | 7:12, 12:11 | |
| mechanical properties | 13:13, 13:45, 14:65, 19:156 | |
| Medieval | 6:17 | |
| mending | 7:50, 7:63, 12:67, 22:63, 22:70 | |
| metal | 12:25 | |
| metal thread | 7:50, 13:27, 17:81 | |
| metalworking | 12:37 | |
| methodology | 21:17, 22:70, 22:78 | |
| methyl cellulose | 19:184 | |
| Metropolitan Museum of Art (New York, New York) | 7:87, 15:1, 19:66, 77 | |
| Mexican | 20:121 | |
| Mexico | 15:37 | |
| M.H. de Young Memorial Museum (San Francisco, California) | 19:33 | |
| microanalysis | 14:115, 15:63 | |
| microclimate | 20:128 | |
| microcomputers | 22:32 | |
| micro-destructive testing | 22:55 | |
| microfadeometry | 20:135, 20:144, 20:157, 20:167, 20:181 | |
| microscopy | 6:61, 8:71, 15:83, 19:77, 21:42 | |
| military uniforms | 16:31 | |
| mineralization | 6:70, 12:25 | |
| minimal intervention | 20:76, 21:68, 21:81 | |
| Minnesota Historical Society (Saint Paul, Minnesota, United States) | 22:1 | |
| mixed media | 13:95, 14:115 | |
| mollusks | 7:23 | |
| monitoring | 19:194, 22:46 | |
| mordant (surface preparation material) | 6:91 | |
| Morris, Robert (b. 1931) | 20:1 | |
| Mongolia | 20:67 | |
| mounting | 1:6, 3:47, 6:9, 6:12, 6:14, 6:17, 10:69, 10:89, 13:95, 14:23, 14:77, 14:85, 14:99, 16:1, 18:21, 18:56, 20:9, 20:76, 20:115, 21:68 | |
| mounts (secondary support) | 7:50, 7:89, 11:59, 13:95, 15:53, 16:1, 18:56 | |
| mud cloth | 19:102, 19:116 | |
| multidisciplinarity | 21:30 | |
| mummies | 18:88 | |
| Museo Nacional de la Música de Cuba (Havana, Cuba) | 22:63 | |
| Museum of Fine Arts (Boston, Massachusetts) | 15:53, 19:43 | |
| museums (institutions) | 13:1, 16:1, 16:31, 16:41, 19:89, 20:157, 21:1, 22:1, 22:19, 22:32 |
N[edit | edit source]
| napkins | 14:1 | |
| National Air and Space Museum (Washington, DC, United States) | 21:30 | |
| National Museum of the American Indian (Washington, DC) | 11:59, 15:9 | |
| Native American | 6:70, 6:79, 7:35, 15:9, 18:56, 19:145 | |
| natural dye | 7:23 | |
| natural fiber | 21:42 | |
| naugahyde™ | 17:31 | |
| needlework (visual works) | 3:7, 10:89 | |
| needs assessment | 22:46 | |
| Nelson, George (1908-86) | 14:115 | |
| net (textile) | 7:50 | |
| New Zealand | 11:1 | |
| nitrogen | 10:55 | |
| nonionic detergent | 19:145 | |
| nonwovens | 5:64, 17:31, 20:55 | |
| nylon | 11:47 |
O[edit | edit source]
| Ohio State University (Columbus, Ohio, United States) | 21:42 | |
| optical microscopy | 13:53 | |
| oral histories | 17:107 | |
| organic material | 12:37 | |
| Oriental rugs | 2:46 | |
| ornaments | 12:45 | |
| overlays | 8:1, 10:109 | |
| overskirts | 17:1 | |
| oxidation | 6:79, 10:39, 20:128 | |
| oxygen absorber | 10:55 |
P[edit | edit source]
| paint (coating) | 2:60, 6:61, 22:106 |
| paintings (visual works) | 13:95, 21:1, 22:106 |
| paper (fiber product) | 4:7, 4:39, 17:93, 20:167, 21:54 |
| People's History Museum (Manchester, England) | 22:7 |
| peptide mass fingerprinting | 22:55 |
| perception | 21:17 |
| Persian (culture) | 21:81 |
| Peru | 2:7, 18:88 |
| Peru (Huaca Malena) | 18:88 |
| Peruvian | 5:87, 14:99 |
| pest control | 10:55, 12:75 |
| pH | 2:1, 15:63, 22:116 |
| Philadelphia Museum of Art (Philadelphia, Pennsylvania) | 19:52 |
| photodegradation | 9:51, 15:75, 20:135, 20:157 |
| photodocumentation | 6:46, 22:138 |
| photomicrography | 19:77 |
| photosensitivity | 20:167 |
| physical analysis | 10:25 |
| physical properties | 8:53, 13:53, 14:65 |
| pigment | 7:23, 7:40, 20:181 |
| plant fiber | 17:1 |
| plant material | 4:27, 17:1 |
| plastic | 14:115, 14:125 |
| polychrome | 12:119 |
| polyester (fiber) /repairing | 22:123 |
| polyester (textile) | 3:57, 5:64, 11:47 |
| polyethylene foam | 21:30 |
| polymers | 11:47, 19:187 |
| polyvinyl acetate | 22:70 |
| polyvinyl chloride | 14:115 |
| poulticing | 8:63, 19:184, 22:78 |
| Pre-Columbian | 13:53 |
| preparing | 15:83 |
| preventive conservation | 9:25, 9:43, 9:49, 15:1, 15:87, 18:88, 19:52, 19:66, 19:102, 19:116, 20:22, 20:76, 20:157, 20:121, 21:54, 22:46 |
| preventive conservation /repairing | 22:63 |
| preventive conservation /textiles | 22:19 |
| previous interventions | 19:184, 20:41, 20:76, 20:102, 21:17, 21:68, 21:81 |
| primary sources | 4:27, 13:35, 20:31, 21:54 |
| printing | 2:60 |
| printing processes | 22:116 |
| professional ethics | 21:8, 22:42 |
| professional standards | 21:1 |
| professional standards /stakeholders | 21:8 |
| protein | 19:129, 22:55 |
| proteomics | 22:55 |
| provenance (ownership) | 10:15, 17:63 |
| provenance (source) | 17:63 |
| pseudomorphs | 6:70 |
| public outreach | 22:1, 22:32, 22:42 |
| public outreach /questionnaires | 22:7 |
| publishing | 4:39, 4:45 |
| purification | 5:9, 5:15, 14:105 |
| purple (color) | 22:116 |
Q[edit | edit source]
| Qing | 19:180 | |
| questionnaires | 5:25, 9:11, 9:45 | |
| quilts | 8:1, 15, 13:13, 14:23, 14:77, 22:32, 22:138 |
R[edit | edit source]
| radiocarbon dating | 17:17, 17:63 | |
| radiography | 17:17 | |
| raffia | 16:87, 17:1 | |
| Rauschenberg, Robert (1925-2008) | 13:95 | |
| rayon | 9:11 | |
| reconstruction | 16:11, 16:41, 21:81 | |
| recording | 17:107, 19:156 | |
| records management | 19:16 | |
| reference sources | 21:42, 21:54 | |
| reflectance spectroscopy | 20:135 | |
| rehabilitation | 19:33 | |
| reinforcement | 20:1 | |
| religious art | 17:47 | |
| religious objects | 12:119 | |
| removing | 19:184 | |
| Renaissance | 20:88 | |
| Renaissance Revival | 16:11 | |
| renovation | 16:11, 19:24, 19:33, 19:66 | |
| repairing | 20:1, 21:17, 22:70 | |
| replacement | 20:31, 22:91, 22:106 | |
| replication | 16:41, 20:31 | |
| reproductions | 7:94, 7:108, 16:11, 16:31, 16:41, 16:75 | |
| residue materials | 3:7 | |
| resin (organic material) | 7:40, 7:57 | |
| retrofitting | 19:33 | |
| reversibility | 13:69, 19:187, 22:123 | |
| ribbonwork | 12:85 | |
| risk assessment | 20:135 | |
| rose madder | 20:181 | |
| rugs | 19:171, 22:123 | |
| rush | 4:27 |
S[edit | edit source]
| S. John the Divine (New York, New York) | 14:65 | |
| Safavid (Iranian Islamic styles) | 21:81 | |
| safety | 8:79, 9:45, 19:24, 19:52 | |
| samplers (embroidery) | 22:78 | |
| sampling | 15:63, 83 | |
| sashes (costume accessories) | 19:145 | |
| scanning electron microscopy | 2:7, 8:53, 13:69, 17:81, 19:129, 20:115 | |
| Schiaparelli, Elsa (1890-1973) | 15:43 | |
| scientific analysis | 20:135, 20:144 | |
| scientific instruments | 20:144, 20:157, 20:167, 20:181 | |
| sculpture (visual work) | 12:119, 20:1 | |
| shaping | 20:1 | |
| shaping (process) | 22:63, 22:123 | |
| shipwrecks | 9:1, 11:27, 18:38, 19:129 | |
| shrouds | 12:1 | |
| Sierra Leone | 16:87 | |
| silk (fiber) | 6:94, 15:75, 22:55 | |
| silk (textile) | 2:14, 2:66, 3:28, 3:57, 4:7, 5:39, 5:79, 6:17, 9:51, 10:89, 12:85, 13:27, 13:95, 14:1, 65, 15:43, 15:63, 17:63, 18:38, 18:72, 19:102, 19:116, 19:180, 19:187, 20:67, 20:76, 21:17, 22:78, 22:106 | |
| silver (metal) | 12:85 | |
| sisal | 14:55 | |
| size-exclusion chromatography | 9:51 | |
| sketchbooks | 21:54 | |
| sketches | 21:54 | |
| skirts | 15:87 | |
| Sleeper-McCann House (Gloucester, Massachusetts, United States) | 22:123 | |
| slip seats | 20:41 | |
| Smithsonian Institution. National Museum of American History (Washington, DC) | 16:31, 20:9 | |
| software | 22:138 | |
| soil | 12:25 | |
| soiling | 11:47, 18:1, 19:145 | |
| solvent | 6:91, 6:94, 12:85, 14:105 | |
| soot | 8:63 | |
| South African | 21:68 | |
| Southeast Asian | 19:102, 19:116 | |
| space suits | 12:97 | |
| Spanish Colonial | 1:46, 17:81 | |
| spectrometry | 17:17 | |
| spectrophotometry | 6:79, 6:91 | |
| sponges | 8:63 | |
| spot testing | 6:55 | |
| stability | 12:133 | |
| stabilizing | 1:6, 11:1, 14:99, 15:43, 18:1, 18:38, 18:72, 19:129, 21:68, 22:63, 22:70, 22:106, 22:123 | |
| stable isotopes | 22:55 | |
| stain removal /textiles | 22:78 | |
| stains (damage) | 12:85, 17:93, 18:1, 18:38, 19:184 | |
| stakeholders | 15:9 | |
| standardization | 19:194 | |
| standards (concepts) | 6:55, 21:54 | |
| sterilization | 14:11 | |
| stitching | 3:47 | |
| stitching (process) | 20:67, 21:17, 21:68, 22:63, 22:70 | |
| stiffness | 2:1 | |
| strength of materials | 13:45 | |
| storage | 2:14, 7:12, 7:87, 8:9, 9:25, 9:43, 9:49, 11:59, 12:133, 15:1, 9, 16:65, 18:21, 19:52, 20:55, 21:68, 22:63 | |
| storage facilities | 19:52 | |
| strain | 19:156 | |
| stress | 15:43 | |
| structural analysis | 10:25 | |
| structural stability | 22:123 | |
| stylistic analysis | 11:11, 12:105 | |
| submarines | 19:129 | |
| suits (main garments) | 21:17 | |
| suppliers | 9:25 | |
| supporting | 21:68 | |
| supporting /textiles | 21:17 | |
| supports (artists’ materials) | 7:57 | |
| supports (furniture components) | 20:41 | |
| surface active agent | 3:28, 5:25, 5:29, 9:37, 11:47 | |
| surveys (documents) | 10:75 | |
| synthetic fiber | 9:11, 20:115, 21:42 |
T[edit | edit source]
| tacking | 14:33 | |
| tapestries | 1:6, 3:28, 7:89, 8:9, 10; 75, 11:11, 14:65, 19:156 | |
| tears (conditions) | 7:57, 12:67, 20:1, 20:128, 22:123 | |
| tensile strength | 2:7 | |
| terminology | 16:41 | |
| thangkas (scrolls or banners) | 17:47, 22:106 | |
| theorems (paintings) | 13:35 | |
| thermoplastic polyester | 20:41 | |
| thin layer chromatography | 6:79 | |
| thread | 20:128, 22:78, 22:116 | |
| three-dimensional | 5:87, 5:93, 19:156 | |
| Tibetan Buddhism | 17:47 | |
| Tibetan Buddhist /training | 22:106 | |
| time-of-flight mass spectrometry | 22:55 | |
| tin | 9:1 | |
| toning (painting) | 8:1 | |
| top covers (upholstery components) | 7:108 | |
| training | 8:39, 15:31, 15:37, 16:65, 18:88, 20:22, 22:19 | |
| Transferring | 22:106 | |
| transporting | 14:85 | |
| traveling exhibitions | 3:47 | |
| trimming (material) | 18:72 | |
| Tyrian purple (colorant) | 7:23 |
U[edit | edit source]
| ultraviolet photography | 17:17 | |
| ultraviolet radiation | 20:181 | |
| uniforms | 10:69 | |
| United Kingdom | 22:19 | |
| United States | 5:53, 7:35, 7:94, 9:19, 18:88 | |
| United States (Connecticut–Gillette Castle State Park) | 14:55 | |
| United States (Florida–Miami) | 12:85 | |
| United States (Maryland–Suitland) | 11:59 | |
| United States (New Mexico–Santa Fe) | 1:46 | |
| United States (New York–New York) | 6:37, 7:87, 9:49, 20:76 | |
| United States (Pennsylvania–Gettysburg National Military Park) | 12:133 | |
| United States (Pennsylvania–Pittsburgh) | 2:60 | |
| United States (Rhode Island) | 1:6, 6:70, 6:79 | |
| United States (West Virginia–Harpers Ferry National Historical Park) | 8:71 | |
| University of Alberta (Edmonton, Alberta) | 8:45 | |
| University of Texas at Austin. Harry Ransom Humanities Research Center (Austin, Texas, United States) | 22:42 | |
| upholstery | 4:17, 4:27, 7:108, 12:67, 14:33, 15:19, 18:1, 20:31, 20:41 |
V[edit | edit source]
| vacuum cleaners | 19:171 | |
| vacuum cleaning | 19:171, 19:194 | |
| vacuum tables | 5:79, 17:93 | |
| Velcro™ | 20:115 | |
| velvet | 13:35, 20:88 | |
| vestments | 2:66, 20:88 | |
| Victoria and Albert Museum (London, England) | 22:19 | |
| Victorian | 14:33 | |
| vinyl | 17:31 | |
| virtual restoration | 22:91 | |
| viscometry | 9:51 | |
| visual inspection | 6:61, 13:45 | |
| visual perception | 22:103 | |
| visualization | 15:53 |
W[edit | edit source]
| wall coverings | 2:60, 7:94, 14:55 | |
| wall hangings | 5:79, 11:19 | |
| washing (cleaning) | 17:93, 20:128, 22:63 | |
| water | 5:9, 5:15, 5:20, 14:105 | |
| water damage | 7:94, 18:1 | |
| water quality management | 14:105 | |
| water-soluble | 19:187 | |
| waterlogged | 9:1 | |
| waterlogged objects | 18:38, 19:129 | |
| weapons | 12:37 | |
| wear | 22:123 | |
| wearing blankets | 12:85 | |
| weavers | 20:121 | |
| weaving | 14:99 | |
| weaving techniques | 17:63, 20:121 | |
| web sites | 21:42 | |
| wedding dresses | 9:43 | |
| wet cleaning | 5:15, 5:25, 5:29, 5:35, 5:39, 5:53, 5:64, 5:69, 5:79, 5:87, 5:93, 8:63, 14:1, 14:23, 19:89, 19:145, 19:171, 19:184, 20:128, 20:167 | |
| White House (Washington, DC) | 15:19 | |
| wood | 12:57, 14:33 | |
| Woodland Tradition | 19:145 | |
| wool (fiber) | 15:75 | |
| wool (hair) | 6:91 | |
| wool (textile) | 5:87, 6:70, 6:79, 6:94, 8:9, 8:53, 9:19, 9:37, 10:1, 12:85, 13:53, 14:65, 14:99, 17:17, 19:145, 20:1, 22:78 | |
| workshops (seminars) | 15:37, 18:88, 20:22, 22:19 |
X[edit | edit source]
| x-ray fluorescence | 17:81, 18:72 |
Y[edit | edit source]
| yarn | 22:70 | |
| yellowing | 15:75, 20:128 | |
| Yucatán Peninsula | 7:12 |
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