Diving into details…
Reconstructing the research and practices of the textile collection found
at shipwreck Burgzand North 17
Student: Hanneke Kramer
Student-ID: 10363048
Supervisor: Emmy de Groot
University: University of Amsterdam In collaboration with: Museum Kaap Skil,
Duikclub Texel,
Rijksdienst voor Cultureel Erfgoed. Date of submission: 20 June 2017.
Title thesis: in consultation with Corina Hordijk of Kaap Skil, after the exhibition serie ‘Duiken in Details’ on 19th December 2016 to 15 February 2017 and on 15th June to 26th June 2017.
Photograph front page: detail of a dress from the textile collection from shipwreck Burgzand North 17, M. Roeper, Kaap Skil, June 2015.
Table of Contents Preface 5 Acknowledgements 6 Abstract 7 Samenvatting 8 1. Introduction 9 1.1. Delineation research 10 1.2. Research question 11 1.3. The objective 11
1.4. Relevance research in larger context 11
1.5. Methodology 11
1.6. Explanation structure report 12
2. Object characterization 14
2.1. Textile collection Burgzand North 17 14
2.2. Objects for condition analysis 14
2.3. Current condition 16 3. Field research 17 3.1. Interview methodology 17 3.2. Interview Results 19 3.2.1. Excavation 20 3.2.2. Rinsing 24 3.2.3. Drying 26 3.2.4. Storage 27 3.2.5. Documentation 28
3.2.6. Reflection from a professional perspective 28
4. Literature research 30
4.1. Environment of the textiles at Shipwreck BZN17 30
4.2. Excavation practices 31
4.3 Rinsing archaeological textiles 34
4.4 Drying archaeological textiles 35
4.5. Storage methods 35
5. Condition analysis 38
5.1. Analysis Human Eye 38
5.2. Analysis HIROX 42
5.3 SEM analysis 43
5.4. Conclusions 44
6. Conclusion 45
Bibliography 47
Appendices for publication: 50
Appendix I: Questionnaire interviews in English and in Dutch 50 Appendix II: Table with object based information derived from field research 54
Appendix III: Photos of some textiles in wet condition 63
Appendices for research only:
Appendix IV: Forms of consent interviews 74
Preface
This master thesis is written for the course Conservation and Restoration of Cultural Heritage, with a specialization in textiles, University of Amsterdam.
The first time I saw some textile fragments and the complete dress was at the exhibition “Garderobe” in April 2016 at Museum Kaap Skil. Those textiles looked mysterious, so beautiful and therefore unrealistic at the dark exhibition room. During this visit, one of the members of Duikclub Texel was present and told how they found the textiles and how the wreck was situated on the Burgzand North area. This story behind the find fascinated me.
In the following months, my fellow students were sure that interviewing stakeholders should be my thesis subject and before I knew, my thesis topic was chosen. I have enjoyed this whole research project, which consisted of literature research, field research and technical analysis on three fragments of the textile collection. The main part of my thesis is about field research, which included interviews with all stakeholders on the island Texel, they provided most of the information I was searching for.
In this thesis, a part of the history is unravelled and described; from excavation till storage and documentation at Museum Kaap Skil.
Acknowledgements
I want to thank the following people for their support and help during my thesis research and writing. First of all, I thank my supervisor at the University of Amsterdam, Emmy de Groot for her feedback and support during this project. I also would like to thank professor Maarten van Bommel as project manager of the research project of the objects from shipwreck BZN17.
The willingness of all stakeholders to share their story with me and their openness during the interviews made that the field research succeeded, and for that, I would like to thank the members of Duikclub Texel, I also thank former employee of Kaap Skil Maarten Roeper and volunteer Jet Drijver for their information about the collection. I thank Corina Hordijk and Alec Ewing from Museum Kaap Skil for sharing all their available documentation of the textile collection, their tips for the field research and providing a workspace during my stay on Texel.
Regarding the Hirox microscopy, I thank Bas van Velzen for the analysis on two silk textile fragments. During this analysis, it became clear that more detailed information about the silk fibres was needed to be able to make a good condition comparison. This detailed information was provided by SEM analysis, executed by Ineke Joosten, scientist of the Dutch Heritage Agency (RCE), for which I would like to thank her.
I thank also Sanneke Stigter (UvA) for her advice and tips about interviewing techniques and Agnes Brokerhof (RCE) for her suggestions to use images during the interviews, Marijke de Bruijne and Sjoukje Telleman for sharing their current unpublished research about this textile collection, Arent Vos (RCE) for his view on the practices of taking objects from the BZN17, and last but not least, Cathelijne Beckers and René Hopman for their feedback on my draft versions and my fellow students for conversations and help during the thesis process.
Abstract
In 2009, a shipwreck in the Burgzand North area near the Dutch island Texel is discovered by locals. And in 2014, a textile collection was found at that shipwreck. This textile collection was taken from the shipwreck, rinsed, dried and stored by the local divers before it was handed over in September 2014 to Museum Kaap Skil. The museum made an inventory and photographed the collection in June 2015, and in 2016 the collection was handed over to the government of Province Noord-Holland. In the period from excavation to June 2015, however, nothing was documented for research purposes. Because the textile collection shows differences in condition and therefore raising conservation issues, it is important to understand what happened with the collection in the first year ashore. The aim of this research is to reconstruct the undocumented period for further research and comparing practice of BZN17 with the literature and the condition of the textiles. Field research showed that most textiles were rinsed once or twice with cold tapwater when lying on the pavement. One sleeve of the collection has had a different treatment: it has been washed on a washing programme ‘Express’ in a Miele washing machine, protected with a gauze sachet. All textiles are dried in a horizontal or vertical position by air outside on a sunny day or inside the clubhouse of Duikclub Texel. Documentation is limited, however, some photos taken by Duikclub Texel show important information about the condition just after excavation. Literature research provided insight in, how professional excavations are approached and in interviewing techniques for the field research. The applied excavation and conservation techniques on the textiles of BZN17 are not in line with the literature. Literature about detailed information about excavation and care of maritime archaeological textiles, however, does not exist yet. Condition analysis gave information about the effect of using a washing machine for archaeological textiles versus rinsing them with cold tapwater.
The conclusion in this research is that the practice of BZN17 is not in line with the described methods by the literature. It is important to realise, that the divers had limited knowledge, materials and the speed of deterioration in situ on materials once emerged from the sediment, makes quick decision making inevitable.Further research is needed to connect all visions of experts and amateur divers for developing a guideline for excavation and conservation of maritime archaeological textiles from the Waddenzee.
Samenvatting
In 2009 werd een scheepswrak ontdekt bij Burgzand Noord, ten oosten van Texel. In 2014 vonden lokale amateur duikers een textiel collectie. Deze collectie is door de duikers naar boven gehaald, gespoeld en gedroogd, voordat deze in september 2014 werd overgedragen aan Museum Kaap Skil. Het museum heeft in juni 2015 een inventarisatie van de textiel collectie gemaakt en deze gefotografeerd en de collectie in 2016 overgedragen aan de provincie Noord-Holland. Over de periode vanaf opgraving tot het inventariseren van de collectie door Museum Kaap Skil, is niets gedocumenteerd voor verder onderzoek. Omdat de objecten van de collectie in verschillende condities verkeren en het onduidelijk is hoe dit textiel dient te worden geconserveerd, is het van belang deze periode te reconstrueren om zo de collectie beter te begrijpen. Het doel van dit onderzoek is de ongedocumenteerde periode reconstrueren en de praktijk vergelijken met de literatuur en de conditie van twee objecten.
Veldonderzoek toonde aan dat de meeste textielfragmenten één of twee keer zijn gespoeld met koud kraanwater en daarbij op de bestrating lagen. Eén fragment had echter een andere behandeling gekregen; een mouw is gewassen in een lingerie-netje in een Miele wasmachine op het programma ‘Express’. Al het textiel is vervolgens aan de lucht gedroogd in of een horizontale of een verticale positie. De documentatie van alle processen is zeer beperkt, hoewel er net na de opgraving enkele foto’s van de textiele objecten zijn gemaakt, en deze tonen interessante informatie. Het literatuuronderzoek gaf inzicht in het vinden van een passende interviewtechniek voor het veldonderzoek en in de professionele aanpak van maritieme opgravingen. De toegepaste techniek op het textiel van BZN17 verschillen van de door de literatuur voorgeschreven technieken. Ook is gespecialiseerde literatuur over opgraving en conserveringsmethoden voor maritiem archeologisch textiel niet gedetailleerd. Een conditie-analyse gaf aan dat er een verschil is in de hoeveelheid vuil en het nog aanwezige metaaldraad wanneer het textiel van BZN17 met koud stromend kraan water of met een wasmachine voor 30 minuten op 40℃.
Uit het onderzoek kan worden geconcludeerd dat de praktijk van BZN17 niet overeenkomt met de geadviseerde werkwijze zoals in de literatuur wordt beschreven. Echter is het belangrijk deze praktijk in perspectief te plaatsen ten aanzien van; bij de duikers op dat moment aanwezige kennis, materialen en de snelheid van degradatie in situ van textiel wanneer het afdekkende sediment verdwijnt. Deze aspecten vragen om een snelle besluitvorming.Vervolgonderzoek zou zich kunnen richten op het ontwikkelen van een gedetailleerde handleiding voor het bergen en conserveren van textiel uit de Waddenzee.
1. Introduction
In 2014, a textile collection was discovered in a wooden shipwreck in the Waddenzee to the east of the Dutch Island, Texel. (Figure 1.1.1.) This area, Burgzand North, was the most important moorage from the beginning of the 16th century until the second half of the 19th century in the north of the Netherlands, and called ‘De Rede van Texel’. The area was a sheltered anchorage for large sea ships. The shipwreck, in which the textile collection was found, is classified as Burgzand 1
North 17 (BZN17), and has been identified as a Dutch trader ship from the first half of the 17th century. Besides a large collection of textiles, other objects were also found, such as boxwood, anise, Italian earthenware, silver goblets, and leather book covers. In general, textile finds from maritime sites are rare, and usually only exist in small fragments. The findings from this textile collection from BZN17 are therefore very unique: because of the large number and large sizes of some fragments and complete objects.
Some shipwrecks become visible, while others disappear beneath new layers of sand. The sea bed of the Waddenzee constantly moves due to water flow changes in the area. In 1932, the Afsluitdijk was built, which interrupted the water flow between the Waddenzee and the Zuiderzee. This changed the direction of the water flow so that it deepens the northern area abovethe Afsluitdijk by ten centimetres each year. A part of this area is called Burgzand North. Besides BZN17, 12 2
other shipwrecks have been inventoried at Burgzand North. 3
Vos, 2012, 43-47. 1 Ibid, 65. 2 Ibid, 105 -107. 3
Figure 1.1.1. Location Burgzand North area and the shipwrecks in this area. Source: http://moss.nba.fi/dut/ bzn-10.html and http://machuproject.eu/machu_cms/?ql=c
1.1. Delineation research
In 2009, the shipwreck became visible on the sea bed. The location of the shipwreck was mapped 4
by the Cultural Heritage Agency (RCE). In 2014, members of a local diving club found some small textile fragments from a tapestry. Later, they found many more textile fragments and objects: over 100 pieces of silk textiles. The finds were transferred to Museum Kaap Skil (hereafter: Kaap Skil) between 2014 and 2016. There, the fragments were described and photographed. At the beginning of 2016, an inventory of all the textile fragments was made by Marijke de Bruyne and Sjoukje Telleman. In addition to an inventory of the pieces, and forming groups of fragments that probably belonged to the same textile object, condition reports were made for each fragment group. After an 5
inventory and condition check, a large part of the textile collection was transported to the storage facility of the local government of Noord-Holland in Castricum. A selection of textiles was transported to the Studio building in Amsterdam for further research.
Although the collection is inventoried, nothing has been documented about the textiles in wet conditions, nor how the divers kept (and perhaps rinsed) these objects. This information should been gatheredfrom when the textiles were excavated until the moment they were stored in Kaap Skil. When the textiles were described at the museum, documentation was carried out during each step of the process when moving the textile objects. This thesis focuses on reconstructing and documenting what happened to the textile collection of BZN17 during the period that is marked red in Figure 1.1.2.
RCE, ‘Special Wreck researched in Waddenzee’,18 August 2015. 25 February 2017. https:// 4
cultureelerfgoed.nl/nieuws/bijzonder-scheepswrak-in-waddenzee-verder-onderzocht,
Telleman, S., ‘Textile finds from the Sea’, 8 June 2016. 20 February 2017. https://www.modemuze.nl/blog/ 5
textielschat-uit-zee.
Figure 1.1.2: Timeline with the available information about the textiles from shipwreck BZN17, by H. Kramer, thesis research proposal, UvA, 14-2-2017.
1.2. Research question
Based on the available information to conservation researchers, and the condition problems the collection faces, the following research question was formed:
What happened with the textile objects in the period from excavation until storage at Kaap Skil, and has the handling, rinsing, and the circumstances in this period influenced the objects’ current condition? What are the consequences for future care?
To find relevant information to answer the main question, a combination of literature research, field research, and condition surveys provided the information to answer the sub-questions, as described in paragraph 1.5. Methodology,:
-
Which interviewing method is most suitable for this research?-
Are there comparable situations of such a maritime archaeological find?-
What are the professional guidelines for excavating textile objects at maritime sites?-
How were the textiles excavated, treated, and (probably) rinsed?-
How were the textiles stored in the period from excavation until storage at Kaap Skil?-
Is there a notable difference in condition between the objects? And how can this difference be explained?1.3. The objective
The objective of this research is to create a bridge between the stories of stakeholders, current scientific knowledge, and the current condition of the textile collection. With the outcome of this research, further research can be carried out on this collection to understand the current condition of the textiles and learning their weaknesses. Furthermore, the results can be seen as a first step to understand the collection’s issues and needs, which can useful for future research about finding a suitable conservation treatment for these textiles. The outcome of this research could also lead to a proposal for proper storage methods. Additionally, recommendations can be made to diving communities about recognising textiles in wet conditions and how to handle them to prevent damage.
1.4. Relevant research to the conservation field
This thesis describes research about reconstructing a part of the history of the textile collection. It can provide more information about the practices of amateur communities on archaeological sites. In the field of conservation, it may help understand why and how amateurs excavate objects, and the consequences of this for the condition of an object. Also, the interviewing method sometimes used in the field of cultural heritage, such as interviewing an artist for modern and contemporary art conservation, is discussed. This research may be seen as an example of how to implement interviews in other conservation fields as well.
1.5. Methodology
The thesis research can be divided into three sections; field research, literature research and condition analysis of selected textiles from the BZN17 collection.
Field research
Interviewing the local diving club and volunteers comprises most of the field research. Besides these interviews, documentation from Kaap Skil provides information about the textiles’ condition. At Kaap Skil, the collection has been documented; photographs and some brief descriptions have been made of the textile fragments. The photographs can especially provide more information about the condition of the textiles when they were first found, and the method of storage afterwards. In this thesis, field research forms the main content, and is compared and completed with the literature.
Literature research.
This research contains literature about archaeology, scientific research, and general guidelines for maritime archaeology. Some guidelines are specifically dedicated to textile finds. Knowing the 6 7
professional guidelines and comparing these with the amateur practices was useful when analysing the interview results of the field research. To better understand the environment, and to gain insights into the circumstances of the textiles for centuries, sources about the Waddenzee and other discovered shipwrecks in that area were consulted.8Also, case studies for maritime textile finds and conservation literature can be helpful when compared with the objects’ history. Literature on how 9
to stabilise wet textiles from archaeological sites is more specific, and therefore relevant to this research. These sources provide more information about the effects of the acidic environment and present oxygen on the materials. Information about drying archaeological textiles provides more 10
information about drying methods and its complications to the fibres. Comparing case studies of 11
silk and wool textile fragments in the Netherlands offers further insight into how other objects from the same area were found, studied, and handled. 12
Condition analysis
After analysing the interview results, a selection of objects was made for condition analysis, as described in 2.2. Objects for condition analysis. This selection was based on the information about the textile fragments derived from the interviews, which were treated differently. The goal of the analysis is to gain an overview of the differences in condition of the selected textiles, and compare this with the results derived from the interviews with stakeholders. A combination of the following analysing tools was used for condition analysis: human eye, Hirox microscopy, and Scanning Electron Microscopy (SEM). Because the collection is currently stored in more than one storage facility, a schedule had to be made, noting which fragments are stored where. To analyse by SEM, a sample set is needed. For analysis with a Hirox microscope, the object should be available in, or transported to, the Studio building in Amsterdam. Sampling is not needed for Hirox microscopy, however. The results of this analysis can be compared with literature about silk degradation to determine the state of degradation of those selected objects. 13
1.6. Explanation of thesis structure
This thesis is structured using theory and practices. The textile collection that forms the focus point of this research is described in the second chapter: 2. Object characterisation. In this chapter, the textile collection is described in further detail, and the arguments for highlighting two specific objects are explained. The third chapter will presents the results of the field research, which forms the core of the entire thesis. With the results of the field research, new information is presented about an unknown part of the history of the textile collection. The results of the field research are compared with the literature from both conservation and archaeological field in the fourth chapter. To make the best comparison between the field research results and the literature study, the order of chapter three and four of this report differs from the advised structure. Normally, a third chapter about the state of scientific knowledge forms the basis of the research. Because the field research is the main focus of this research, it is therefore described in the third chapter. The fifth chapter contains an analysis of the two costume elements that were described in the second chapter, by the human eye, Hirox microscopy, and SEM. In the final chapter, all the conclusions are summed up,
Bowens, 2009. 6 Gills, Nosch, 2007. 7 Manders, 2014. 8 Pearson, 1987. 9
Tarleton, Ordonez, 1995, 81 - 95. and: Huisman, Joosten, Nientker, 2007. 10 Peacock, 1992, 197-207. 11 Comis, 1990, 61-79. 12 Kim, Wyeth, 2009, 60-67. 13
and suggestions for further research are given, as well as a reflection on the process of this research project.
Because some field research information is sensitive, the appendices of this thesis are divided into two sections. The first is for publication, and contains information about interview questionnaires and an interview results table with information per object. The second section is not for publication, and only available for researchers after permission from the interviewees to use those transcriptions. For other documents that are not for publication, the author can be approached.
2. Object characterisation
2.1. Textile collection Burgzand North 17
The textile collection consists of 108 textile pieces, divided into 28 categories. The type of textiles varies from garments, parts and fragments of garments, to fragments of interior textiles, and accessories. All the textiles consist of silk fibres, but in some fragments, woollen fibres are present too. Besides silk and wool, other materials have been used to transform the textiles into garments, garment pieces, and interior textiles. Thus, metals, such as iron and brass, are present in rings, hooks and eye closing systems, pins and buttons. Some textiles show corroded threads woven into the entire fabric, which suggests, metal threads were used. 14
The collection shows a variety of fabrics, both in manufacturing method and colour, but also in decoration. The fabrics consist of different weaving techniques: satin weave, rib weave, damask weave, twill weave, velvet, flushing warp, and knotted fabric. Decoration consists of embroidery techniques, sewing techniques to create figures on a woven ground, straps, fringes, and various kinds of buttons. 15
The silk fabrics are cut into pattern pieces for the garments and sewn by hand. Hand stitching is initially identified by the irregular stitching, and then by the fact that the invention of the sewing machine dates from two centuries later than the date of the shipwreck and its collection. Many sewing stitches have disappeared, resulting in loose garment parts. Sewing holes are visible in some objects, as well as remains of sewing threads. Buttonholes are handmade, and the decorative trimmings of silk, combined with corroded metal threads, were sewn down on the garments. The lining of garments has mostly disappeared. On some pieces, the lining partly remains, e.g. on the bodice . Large textile fragments with rectangular or square shapes are now identified as interior 16
textiles. These show decoration around the borders also, or are embroidered with silk and corroded metal threads.
2.2 Objects for condition analysis.
Because of the time limitations for this research, for the condition analysis three objects were selected for examination. The objects can be identified by their inventory numbers, 6263-113, 6263-116 and 6263-117 (Figures 2.1.1, 2.1.3. and 2.1.4). Number 6263-113 is one-half of a pair of undersleeves, and numbers 6263-116 and 6263-117 are a pair of hanging sleeves. All belong to a dress which is almost completely unattached (Figure 2.1.2.). Chapter 3.2.2. Rinsing, describes how number 6263-113 (an undersleeve) is treated differently compared to the other parts of this dress, which have had comparable treatment.
All sleeves are rib-woven from silk yarns combined with metal threads. The metal threads are woven in a braided pattern on top of the silk ground fabric. The metal strips are in the weft directly woven into the fabric. The hanging sleeve is sewn on one side, and the undersleeve is sewn together on both sides. All the sleeves were decorated with one or two stripes of ribbon. Only the imprints of those decoration ribbons are left on the fabric. In some places, small remains of the ribbons can be found. Along the slits of the sleeves, the silk tassels have the same colour as the ground fabric. The characteristics of the sleeves are presented in Table 2.2.1. 17
de Bruijne, Telleman, 2016, 21-22. 14
Ibidem, 23-25. 15
Inventory number; 6263-63 till 6263-66. 16
Information of this table is derived from: Bruyne, M. de, Telleman, S. ‘Conditie beschrijving Textielvondst 17
Texel, Project Wetdress,’ University of Amsterdam, unpublished, 13 Januari 2016, 1. And: Serrano, A., ‘Wetdress-UHPLC and SEM-EDX analyses for dyestuff and fibre characterization’, University of Amsterdam, unpublished, 2017, 1-2.
Inventory
number Type of object Dimensions (length x width)
UHPLC Results. / SEM-EDX results.
6263-113 Undersleeve 61 x 24,5
centimetre Not examined 6263-116 Hanging sleeve 58 x 42
centimetre Dyestuff: Tannins and small detection of cochineal on all four fibre samples. From PLS-DA analysis: American cochineal. All sampled fibres are in a relatively good state of preservation. One sample of a metal strip from oxidised metal threads is in an advanced state of degradation.
6263-117 Hanging sleeve 54 x 42
centimetre Not examined
Figure 2.1.2: Dress 6263- 103 Photo: M. Roeper, Kaap Skil, June 2015.
Table 2.2.1. Object characterisation of 6263-113, 6263-116 and 6263-117.
Figure 2.1.1: Tight sleeve 6263-113. Photo: H. Kramer, UvA, 19-5-2017.
Figure 2.1.3: Sleeve 6263- 016. Photo: H.Kramer, UvA,
2.3. Current condition
The condition of the textile collection shows some similarities and differences between the fragments. Photographs were made of all present textiles at Kaap Skil in June 2015. From 18
January to March 2016, condition reports were made by Marijke de Bruyne and Sjoukje Telleman, both post graduate master’s students in the conservation and restoration of textiles at the University of Amsterdam. Before beginning the condition survey, the objects were divided into groups of fragments that probably belonged to one textile object, into which fragments show similarities based on the type of fabric and decoration. After grouping the textiles into 26 sets, a condition survey with a photograph for identification, and a standard documentation description was written 19
for every set. However, not all textiles from the collection were present and documented during this period. For example, no condition report was made of the condition of the tapestry fragments, or some collars and small fragments, which were added to the textile collection in a later period. Both the photographs from Kaap Skil and the condition reports provide information about the condition of the textiles at that specific moment.
Condition textile collection
The condition of the described textiles in the condition reports ranges from good and relatively stable to poor and very unstable. Most condition reports note a poor to very poor condition, with fibre loss, dirt, brittle and stiff parts of fabric, sand, and crushed fibres. Also, black imprints of other objects, tears, and folds are noted in most of the reports. Embroidery and metal threads are in a poor, corroded condition, with much loss in the embroidered sections. Some objects show black powder in the boxes around the textiles. The condition of a pair of stockings is described as the best: no dirt, flexible fabric, and a good fibre condition. In all the textile finds, silk fibres have 20
been determined, with the exception of a set of tapestry fragments that has a woolen pile on a silk ground fabric.
Condition object selection for condition analysis.
The 2016 condition report describes the current condition of the selected sleeves as ‘moderate’: ‘The metal strips are very corroded and a large part of the pattern has disappeared. Because of
that, the braided pattern is partly visible. The dress shows a lot of dirt and discolorations.’ 21
The condition of the selected pieces for condition analysis is relatively stable, but shows folds, wrinkles, and discoloration. Dirt is visible on the objects, which can contain mud, sand, or salt particles. Metal threads woven into the fabric have been corroded. In some darker areas the braided pattern created by the metal threads is slightly visible (Figure 2.1.3). The pattern is completely faded in most areas. The metal threads are broken, where they are still present in the fabric. When broken, the metal parts become loose and the pattern disappears. Blackish powder, derived from 22
the fabric, and large dark stains are visible in several places. Two hanging sleeves, 6263-016 and 6263-017, were selected for further research in 2016. The latter was examined using SEM. The results of the SEM analysis and UHLPC are presented in Table 2.2.1.
Roeper, M., 19 April 2017, Personal Interview. 18
Dawson, Hillhouse, 2011, 41-42. 19
de Bruijne, Telleman, 15 January - 22 March 2016. 20
de Bruijne, Telleman, 13-1-2016. 2. 21
Ibid, 3. 22
3. Field research
3.1 Interview methodology
Two literature researches were carried out for this thesis. The first, smaller literature research, was necessary to find a proper interview methodology, and is described in this chapter for the implementation of the best interviewing techniques during the interviews. This is essential to receive as much information about the textiles as possible. The second literature research is explained in Chapter 4, to compare the field research results with the literature about maritime textile finds. Therefore, interview methodologies in the conservation field are compared with more general interview literature for this study. First, general information about using interview techniques is compared with the methodologies developed for the conservation field. Within the conservation field, methodologies can be divided into two practices: modern and contemporary art practices, and oral history practices. The interview methodologies are described below, and for each, the most positive points that can be integrated into this research are set out. The differences between the methodologies and the research for this thesis are also described. Finally, a reflection on the literature from a practical perspective within this research is described.
General interview methodology
More general literature describes how to interpret, understand and explain the results of interviews. Overall, the literature describes how the aim of interviewing is to document 23
experiences:
‘The purpose of in-depth interviewing is not to get answers to questions, nor to test hypotheses, and
not to ‘evaluate’ as the term is normally used.{…} A basic assumption in in-depth interviewing research is that the meaning people make of their experience affects the way they carry out that experience.’ There are several interview structures: the form depends on the formulated questions 24
and the order in which they are presented to the interviewee. Seven different types of interview are mentioned by Gillham:
-
structured questionnaire with simple, closed questions-
semi-structured interview with multiple choice and open questions-
recording schedules-
semi-structured interviews with open and closed questions-
open-end interviews with some open questions-
natural conversation with research questions-
observation of a conversation 25Baarda writes that an open interview consists of open questions and a topic list that is used for all options and topics that can be discussed during the interview. A very structured interview consists of standard closed questions with additional open questions. 26
The introduction of the research to the interviewees is very important. Explaining the goal of the research and providing arguments to ask for information from the interviewee is the first step. The most common method is to introduce the research with an introductory mail. This can be a 27
difficult step: ‘Interviewing requires that researchers establish access to, and make contact with,
potential participants whom they have never met.’ There is a difference in approach also between 28
interviewing a group or an individual. One disadvantage of group interviews is that group members
Beerkens, 2012, 68-86. 23 Seidman, 2006, 9-10. 24 Gillham, 2000, 5-6. 25 Baarda, 2009, 72-80. 26 Ibidem, 90. 27 Seidman, 2006, 12. 28
can influence each other, and a group session should be led by an interviewer who has experience of such things. 29
Modern and contemporary art methodology
There is a difference in approach between general interviews and the interview techniques commonly used when interviewing the artist for modern and contemporary art conservation,. The goal of such an interview is not about the meaning of materials. ‘Methodology is developed with a
focus on the interview as a tool for the registration of very specific knowledge.’ It is important for
the researcher to be aware of the fact that an interview will not provide value-free, neutral information. It could be that the interviewee changed his/her view, or provided an incorrect recollection of the specific matters. 30
Oral history methodology
The goal with oral history interviews is to make the content accessible for the public and researchers. Because the information derived from the interviews can have a negative influence on the volunteers if their identity is known, anonymity was guaranteed. This question is not unusual in oral history practices: ‘There may be some exceptional circumstances when anonymity is
appropriate, and this should be negotiated in advance with the narrator as part of the informed consent process.’ Preparation of an oral history interview consists of a topic list and narrator 31
research to guide the interview. Besides a good interview guide, the environment where the interview takes place influences the comfort of the interviewee. Therefore, in oral history practice, a familiar environment to the interviewee should be chosen for the interview. 32
Reflection on the literature
Comparing the general interview literature with the literature concerning the methodologies developed in the conservation field, the purpose of the interview show similarities, which is due to the experiences of the interviewee. The answers to the questions are less important than the experiences of the interviewee in all three studied methodologies. Oral history manuals describe how to deal with ethical problems, e.g. when the interviewee wishes to remain anonymous. As with artist interviews, the chosen environment for the oral history interview is determined by the interviewee. This base is also important for the field research of this thesis: to prevent the environment having a negative influence on the interviewees, so they feel comfortable enough to share their stories.
Theory into practice
Taking the above mentioned literature into account, the research was introduced to the interviewees during a personal conversation on Texel, following the opening of the first exhibition of textiles at Kaap Skil. Two pre-sessions were planned, to allow stakeholders to commit to sharing their knowledge in individual interviews. The main reason for this was that some interviewees were concerned about the type of information that would be asked for, and if they were allowed to share this - probably sensitive - information with the interviewer. A strong atmosphere of social control is present in the group to protect each other from telling too much vulnerable information. This was due to past experiences with researchers. Because of this, a presentation about the current research, it aims, and how the results were to be used in the final report were just as significant as good communication. During the project, I realised that trust between interviewer and interviewees was key, and this became the most important element in the field research. Because of the reticence of the stakeholders, the questionnaire for the interviews was given beforehand and discussed during a second pre-session. A printed version of the questionnaire was presented to the interviewees to prepare themselves for the actual interview. Another requirement of the interviewees was to make a schedule for the actual interviews themselves.
Seidman, 2006, 87. 29
Beerkens, 2012, 15. 30
Website Oral History, October 2009, 20 January 2017, http://www.oralhistory.org/about/principles-and-31
practices/
Sommer, Quinlan, 2009, 50-52. 32
During the interviews, all the questions were answered, and it became clear that most of the interviewees had not studied the questionnaire very well. The advantage of an unstructured interview is that the atmosphere is more relaxed and natural. After a few personal questions, which were not much related to the subject, the interviewees showed more commitment. Recording the interviews was only for transcript purposes and done using a mobile phone -a Samsung Alpha- on the table between the photographs of the collection. This device was chosen because of its unobtrusive character. Following the interviews, forms of consent were signed.
3.2. Interview results
The field research contained eight interviews, most were conducted on Texel. During these interviews, the respondents provided general information about four processes the textile collection had undergone. During the interviews, I noted a fifth process of documentation, which is described in paragraph 3.2.5. Documentation. Figure 3.2.1 shows the number of respondents who provided information about the five processes. Besides descriptions of the processes, some information about specific textile objects was given also, as presented in Figure 3.2.2. The respondents were a volunteer, a former employee of Kaap Skil, and divers who were involved in the first months when the textile collection of BZN17 came to light. Photographs of the textile collection were placed on the table during the interviews.
Figure 3.2.2.: The number of respondents that mentioned object specific information from the field research.
0 1 2 3 4 5 6 7
Excava/on Rinsing Drying Storage Documenta/on
Am ou nt o f Re sp on de nt s Processes which are executed on the tex6le collec6on BZN 17. Informa6on from the respondents. 0,00 1,00 2,00 3,00 4,00 5,00 6,00 7,00 8,00 9,00 1: BZ N17-39 2: BZ N17-6 3 t/m BZN1 7-66 3: BZ N17-94 4: BZ N17-01 5: BZ N17-111 7: BZ N17-4 0 t/m BZN1 7-43 8: BZ N17-23/25. 9: BZ N17-08/85. 10:BZ N17-108 11:BZ N17-116/117/119. 13: B ZN17 -95 t/ m BZ N17-9 9/10 6/10 7. 14: S ocks, No i nven tory n umbe r. 15: BZ N17-44/45. 16: BZ N17-110. 17: BZ N17-112/113. 18: BZ N17-05/09/13. 19: S mall k aEan . 20: BZ N17-14/16/24/92. 21 22 25 26 27/28/29 30 31 32 33 Red Mu d Am ou nt o f r es po nd en ts Photo numbers with object inventory numbers Object related informa:on derrived from interviews.
3.2.1. Excavation
In total, four divers were present at one or more of the dives when the textiles were found. Information given by the respondents about the excavation is presented in Figure 3.2.3. Most information was about the diving circumstances and the textiles in situ. Together, this provides an overview of the entire process of excavation. The discovery of shipwreck BZN17 was made in 2009 by a shrimp fisher on the Waddenzee, near Burgzand North, where the seabed is lower. The shipwreck is located at a depth of approximately ten metres below sea level. Notification of the shipwreck was sent to Hans Eelman, who dived with Duikclub Texel, down to the shipwreck. Duikclub Texel, at that period, had a different membership than today. From 2012 on, two clubs merged, and checked the shipwreck a few times every year in the period from spring until the end of the summer. 33
From spring 2014, shipwreck BZN17 was rinsed in the middle of the wreck. Because of the expectations that more artefacts could be found near the middle part of the wreck, a systematic approach to diving in the summer of 2014 was executed by Duikclub Texel. This approach was based on the professional experience of two divers. A rope was placed in the middle of the shipwreck, and attached to the seabed at the front to the back of the wreck by two anchors. Yellow cow-labels were attached to this rope, which made positioning during diving in turbid water easier. Figure 3.2.4. and Figure 3.2.5 show drawings of the wreck made by Duikclub Texel. In 34 Figure 3.2.4., the locations of several finds within the wreck are noted.
The textiles were found during different diving sessions. On the 3rd of August, the fragments of a tapestry and the lower part of a small velvet kaftan were found and removed from the shipwreck. A couple of days later, on the 7th of August, the remains of a wooden crate or chest were found under the wooden construction of the shipwreck, probably near the broken main mast, with a large number of textiles. The interviewees were not certain about when all the textiles came to light, nor if they found all during a single dive on the 7th of August, or if they also found textiles the next day. When comparing the answers of the respondents, confusion about the dates of the excavation arose because the textiles were rinsed in different sessions, not directly after each diving session when they were found. Two silk stockings were found on the 22nd of August, and were probably 35
the only textiles found during that diving session. 36
Duikclub Texel, personal interviews; 2,3,5. 33
Ibid, personal interviews; 2,5. 34
Ibid, personal interviews; 1,2,3,5,7. 35
Ibid, personal interviews; 3,5. 36 5 3 4 3 Details about the excava0on, given by respondents: Diving circumstances. The shipwreck BZN 17. Tex>les in situ. Excava>on set up.
Figure 3.2.4. Drawing of BZN17 at 2014. Anonymous, Duikclub Texel.
In most of the interviews, the diving circumstances during the days they found textiles were described as normal, not specifically good or bad. One respondent noted that, during the dive of the tapestry fragments, sight was very limited, with only up to 40 centimetres at the seabed. All divers mentioned that cloudy water makes it hard to locate the position on the wreck. Taking something from the seabed makes it even more cloudy and turbid, so that even your own hands are not visible any more. Sight under water ranges from half a metre to one or two metres when there are good diving circumstances. Bright weather increases more sight under water, due to sunlight in the water. When it looks brighter at the surface, however, at the seabed the water is more turbid. 37
The textiles were found in situ between wooden planks, which was probably a wooden crate or chest original, pressed under a large wooden beam, 40 x 50 centimetres thick. The wooden crate or chest was very damaged, not all planks remained. The wooden material of the chest or crate was described as a thinner wood than the wood of the shipwreck itself, but it had a similar colour and structure to the chests of resin. Three divers described feeling a soft, muddy substance with a brownish or reddish colour between the wooden remains. Because of the movement near the seabed, sight was very limited, which made it difficult to remove the substance. A drawing made by one of the divers during the interview explains the situation of the textiles in situ (Figure 3.2.6). Sand was removed from under the wooden remains to provide more space to take the textiles out of their position, and to ease the pressure on the textiles from the beam of the shipwreck. 38
Three divers worked together to transfer the textiles to the surface using two methods. The first method was taking a piece of substance, from around 15 centimetres in height and placing it in a small polyester shrimp net, attached to the divers belt. The second method was taking a similar 39
amount of substance and using both hands to take it up to the ship. Most textiles were placed into 40
two nets at the divers’ belts. These polyester shrimp nets have a mesh of approximately one square centimetre. The size of one net is around 80 centimetres long and 40 centimetres in diameter. 41
Around the opening of the mesh, a metal cable is attached to provide some firmness.
Duikclub Texel, personal interviews; 2,5,7. 37
Ibid, personal interviews; 2,5,7. 38
Ibid, personal interviews; 5,7. 39
Ibid, personal interview; 2. 40
Ibid, personal interviews; 1,2,5,7. 41
Figure 3.2.6: Schematic drawing of the textiles stored in situ in shipwreck BZN17 under the wooden beam from the construction of the wreck. Anonymous, Interview 7, 20th April 2017 at Museum Kaap Skil, Oudeschild.
On the shipwreck a reddish layer was discovered near the main mast, on the opposite side from where the chest with the textiles was found. This layer was spread over a large area, from on to four or five square metres on top of the light coloured sand seabed. The thicknesses of the reddish layer varied from very thin to approximately 20 centimetres and consists of sub-layers. When the divers touched the reddish layer, it disappeared in the water. Because of the vulnerable material, it was not possible to lift a large piece to the surface. A small piece of the reddish layer was taken and stored in a bucket. 42
After the find, the textiles were rinsed, dried, temporarily stored, (re-)packed, and documented at several places. Sometimes, the collection was spread over different places at the same time. In
Figure 3.2.7. those places are shown: the location of Duikclub Texel, at home with a diver, at Kaap
Skil, and at the Dutch Institution for Sea Research (NIOZ). The procedures carried out with the collection per location are also presented. All information in Figure 3.2.7. is derived from the interviews.
Ibid, personal interviews; 1,2,5,8. 42 • Documenta+on • Re-packing tex+les. • Storage • Documenta+on • Packing • Rinsing • Drying • Storage • Transport • Rinsing • Drying • Storage • Packing • Documenta+on
Duikclub
Texel
At home
NIOZ
Museum
Kaap Skil
Figure 3.2.7. The locations of the textile collection from August 2014 to March 2016, combined with the procedures executed on this collection per location.
3.2.2. Rinsing
In total, six respondents gave information about the process of rinsing. When divers took the textiles from the shipwreck, they placed their finds at the stern of the ship. On the ship, some sea water was rinsed over the top layers of the textiles, for quick identification of the finds. Because they saw fabrics, the textile packages were not rinsed further, but left in place until they returned to harbour. On shore, some packages were placed on the pavement. Others were put in fish crates or buckets with tapwater or rainwater. A portion of the textiles was rinsed on the same day as the find, and a large part was rinsed the day after the find. Some textiles were rinsed a second time in the following two weeks. How these textiles were stored temporarily, is described in paragraph 3.2.4:
Storage. All the large pieces were found folded. Those packages were approximately from 40 x 40
centimetres to 60 x 60 centimetres. Some had a square form, while others were more rectangular. Before the textiles were rinsed, they were unfolded to determine what type of clothing they were. A group of three or four people laid down packages of textiles directly on the pavement. Loose costume parts, such as sleeves and collars, laid between these packages. The colour of all the textiles was a dark red-brownish colour and smelled like sea clay, which was also present between the textiles. 43
The textiles were unfolded on shore, on the street, where the divers usually fasten their ship. When unfolding the textile packages, more bright colour became visible. Both the layers of textiles and the packages stuck to each other. One respondent mentioned that it was sometimes difficult to find the edges of the package, where the textiles could be unfolded. While unfolding, the stickiness of the textiles with each other was described as being similar to opaque Scotch Tape, when pealed off a table. Unfortunately, the interviewees did not document how the textiles were folded or which textiles were stuck to one another. After unfolding many of these textiles, they were rinsed with tapwater, using a garden hose without a spray nozzle.
The tap water was cold, because no warm water was available at the location were the textiles were rinsed. The tapwater is around 16 degrees Celsius in summer time. The mud came off easily from the textiles. Rinsing was based on the visibility of present sand. There was some knowledge about the effects of salt that migrates to the surface when objects are drying. Therefore, all the textiles were kept in a wet condition prior to rinsing. This was done by temporarily storing them in buckets or large PVC fish crates with tapwater or rainwater. During the rinsing process, the rinsing water that came off the textiles not only turned a muddy colour, but also red, comparable to the colour of the textiles. All the respondents who participated in the rinsing process mentioned this phenomenon. Some respondents also said that the street turned red, probably because of the dyestuff. It is possible that the reddish colour also contained weakened fibres. Figure 3.2.8. visualizes 44
an unfolded wet object before rinsing on the pavement.
Duikclub Texel, personal interviews; 1,2,3,5,7,8. 43
Ibid, personal interviews; 1,2,3,5. 44
Figure 3.2.8. “The dress”, a sleeve, the bodice and two collars after excavation, placed on the pavement for rinsing with cold tapwater. Photo: Duikclub Texel.
Figure 3.2.9. Tapestry fragment with a deer, in wet condition just after excavation. Today, this fragment consist of two parts. Photo: Duikclub Texel.
Two respondents said that some textiles were rinsed twice with tapwater. They also mentioned that those textiles were probably not dry before they were rinsed the second time. During rinsing, some pieces of fabric were held in water and completely disappeared. One interviewee speculated that the dissolved pieces were part of the tapestry. A small selection of textile fragments was rinsed 45
quickly and taken home in a bucket. This selection contained some tapestry fragments. Some pieces were in a dry condition, others remained wet. Further rinsing was executed at the home of one diver, in the bathroom. He placed the fragments, which were still wet and stuck together, in a bathtub and rinsed them with cold water. Then he tried to undo the package of fragments, to view them individually. 46
One textile fragment did undergo a completely different treatment. Sleeve 6263-113 was left behind when all other textiles fragments were collected and transported to Kaap Skil. Because no connection between this sleeve and other objects was made, and it was in a very dirty condition, this textile was taken home by a member of Duikclub Texel. There, the silk sleeve was placed in a Miele washing machine, protected with a gauze sachet. The washing program used is called ‘Express’, which means 40 degrees tap water during 30 minutes without centrifuge. The sleeve was the only textile washed during this programme. During the interviews, it did not become clear if the sleeve was rinsed with tap water before the washing treatment was executed. 47
Figure 3.2.9. and Figure 3.2.10. show two objects that are today in another condition than directly
after excavation; a tapestry fragment and a small velvet kaftan. Lieke Boerstra, a fellow student who studied the tapestry fragments, noted that the tapestry fragment on the photo now consist of two parts which were not matched together before. The small kaftan on Figure 3.2.10 was found with the velveteen pile turned inwards, and seams on the outside. This implicates that this object could be a lining of a kaftan. Today, the velveteen pile is visible at the outside of the garment, so the kaftan should be turned inside out the period after drying and its original context is not visible any longer.Photographs of the collars, a bodice, the purse, an embroidered cloth and one tapestry fragment and the small velvet kaftan in wet condition are included in Appendix III.
3.2.3. Drying.
Six respondents provided information about the drying process, some were more specific than others. After rinsing, the textiles were dried in two ways. One method of drying can be further categorised into two sub-methods, as visualised in Figure 3.2.11. After rinsing, all the textiles were dried by air, but in two different positions. This was based on the dimensions of the textile fragments, e.g. small objects or fragments were placed, in a wet condition on the wooden canteen-table inside. Larger textiles were hung over clothing lines or PVC garden furniture. Some large textiles were spread out on plates. The textiles were hanging over ‘almost everything you can hang
textiles over for drying’. ‘The dress was laid out over a garden-table.’ This first phase was in 48 49
the open air, on a warm, sunny day after rinsing the textiles which were spread out on the pavement. Later, the textiles were hung on a clothesline inside the building where diving equipment is stored. Clothespins were not available. Some tapestry fragments were dried in a flat position on blotting paper in the attic at a diver’s home, without sunlight, for over a week. 50
Some details between the stories of respondents about drying the textiles outside do not match. Some noted that it was just a short period, another notes that it was no longer than one week. Two respondents were very specific: ‘The textiles were spread out for drying on Saturday and kept
Duikclub Texel, personal interviews; 1, 3. 45
Ibid, personal interviews; 8. 46
Ibid, personal interviews; 3. 47
Ibid, personal interviews; 3. 48
Ibid, personal interviews; 7. 49
Ibid, personal interviews; 1,2,3,5,7,8. 50
inside until Tuesday because the weather forecast predicted rain.’ and ‘Because a lot of wind was 51 predicted, the dried textiles could easily be blown away by the wind so everything had to be moved inside.’ When the textiles were taken inside, most of them had already dried, others were still 52
damp. The textiles were spread over the entire canteen and storage room (Figure 3.2.10), where the temperature rises during warm weather because of the flat roof. In the canteen, two windows are always closed and covered with closed Luxaflex when nobody is present. Extra blown warmth was created in the storage room a couple of times during this period by the compressor when filling bottles for diving sessions. So the textiles were kept in the dark, but in a warm environment, ranging from 25 to 30 degrees Celsius.
3.2.4. Storage
Information about storage of the textile fragments can be divided in two categories: temporary storage in wet condition, and temporary storage in dry condition. The storage methods are described below in chronological order per location, as visualised in Figure 3.2.5. The dried textiles were stocked on shelves in the canteen, and at the storage room with a compressor. Because of the large number of textiles, many stacked textiles were placed around the clubhouse in the harbour. The interviewees could not remember an order in placing the textiles on shelves. They mentioned that ‘The textiles were not that folded, just placed on top of each other’ . Only the larger pieces 53
needed to be fitted into the available area, and were folded for that reason. When gathering all the fragments, they were loosely folded into a PVC fish crate. The fish crate had a standard size of approximately 40 x 80 centimetres and was about 40 centimetres high. The first fish crate was stacked with textiles until completely full. A second fish crate was one-quarter filled with textile fragments. The divers found some objects very remarkable, such as ‘the Dress’, a kaftan, and stockings. Those objects were not stored in a fish crate because they were expected to be the most complete of all the textiles, and therefore the most valuable. The dress hung for a couple of weeks on a clothing hanger, normally used for diving suits. The small kaftan and stockings were stored flat on a table and on a shelve. Some tapestry fragments were kept at a divers’ home in a horizontal position between two sheets of blotting paper within a paper archive map. Two tapestry fragments were placed in frames with a glass plate at the front. 54
When the textiles were handed over to Kaap Skil in September 2015, employees packed a dress, small kaftan, and stockings between tissue paper in large, acid-free boxes. The other textiles were handed over in the fish crates. At Kaap Skil, the fish crates were stored in a place with windows and without climate control. Only the three boxes with the small velvet kaftan, dress, and stockings were kept in a climate-controlled room, after the exhibition, in the basement of the museum. In
Duikclub Texel, personal interviews; 3. 51
Ibid, personal interviews; 8. 52
Ibid, personal interviews; 3. 53
Ibid, personal interviews; 1,2,3,5,7,8. 54
Drying
Flat Hanging Flat on blo/ng paperJune 2015, the textiles from the fish crate were photographed and repacked in different sized, acid-free boxes with tissue paper and levels to prevent pressure on the textiles. Then, they were stored at the same location in the basement, together with the other objects. 55
3.2.5. Documentation
From the limited documentation and memories of the interviewees, a timeline can be drawn to illustrate what happened with the textile collection from August 2014 onwards. The timeline can be found in Figure 3.2.12. In this timeline, only the information about the excavation and information about the textiles in Kaap Skil is included. Other documentation, from 2016 onwards, was already available for research, and therefore only some highlights placed are in the timeline.
Besides photographs, drawings of shipwreck BZN17 were made by the members of Duikclub Texel. These drawings, presented in Figures 3.2.4 and 3.2.5, provide insight into how the finds were related to each other in situ.
In Appendix II, a table presents all the object-specific information mentioned by the interviewees. Because not every object has an inventory number yet, photographs are inserted in the second row of the table. These photographs represent a group of fragments, identified by Marijke de Bruyne and Sjoukje Telleman in 2016. Some objects in the table show contraditionary remarks, which illustrate the respondents’ transient memories.
3.2.6. Reflection on the excavation practices from a professional perspective.
The excavation practices were discussed with maritime archaeologist Arent Vos. The focus during 56
this conversation was on weak organic materials, especially textiles. Vos noted that textiles are found often in maritime contexts in the Netherlands. In general, maritime archaeologists work in small sections of a shipwreck, and only the area where the work takes place is uncovered. Every step is documented, and drawings are made of the original situation at the shipwreck. All objects are labelled before being removed from the sediment. The shipwreck can be uncovered from the
Duikclub Texel, and Maarten Roeper, personal interviews; 3,4. 55
Conversation about professional approach to maritime excavation of vulnerable organic materials with 56
Maritime Archaeologist A. Vos of the Dutch Heritage Agency on the 26th of May 2017 at Museum Nieuwland, Lelystad.
sediment by using custom made airlifts of PVC pipe with a flexible hose at the end. Airlifts can be created with regulated suction to work safely around vulnerable organic objects. Because these airlifts are custom made, they differ from airlifts with more power, which are used by sport divers. Large textile objects, such as a mattress or canvas sails, are sometimes too large to lift in one attempt. Therefore, they are cut and partly lifted to the surface by a steel frame covered with netting. A large sail of the BZN2 was excavated using this method. It is still stored in a fridge 57
awaiting conservation treatment. Small organic objects are placed in a zip-lock bag at the site, then gathered in a PVC-crate before being brought to the surface. The crates are closed when rising, and the objects are, as much as possible, stabilised within the crate, because the waves can shake the crates and most damage can occur during the rising process. On the ship, everything is protected from drying. Small objects in zip-lock bags are left in their bags with some seawater. Larger objects are placed in PVC crates with seawater to prevent large changes in environmental circumstances by maintaining the environment of the object as close to the in situ environment. Ashore, the objects are packed for transport to the storage facility or conservation studio. Objects are kept in a wet condition in a special storage room, and are treated by external or internal material experts. Treatments are documented in the registration system (Adlib) of the RCE. Shipwrecks that are valuable for further research are preserved in situ. A preserving method is executed using several layers of netting, weighted at the ends with metal chains. Between those layers, sand has settled. This preservation method can protect a site for approximately 15 years before the layers need to be replaced.
To conclude, the practices of BZN17 and professional approach are not in line with each other. In the next chapter, 4 Literature research, these approaches are compared with literature.
Vos, 2012, 135-136. 57
Chapter 4. Literature research
For this -second- literature research, archaeological guidelines and articles are compared with conservation literature to evaluate the results described in Chapter 3. Field research. This is done by searching for similarities and differences in excavation, storage, and treatments that influence the condition of textile objects in the long term. To achieve a good evaluation of both the literature and how the textiles of shipwreck BZN17 were handled, this chapter is structured using the same chronology as chapter three, with a focus on archaeological textiles found in the Netherlands in a maritime context. The archaeological literature describes mainly the excavation process and temporary storage, while the conservation literature focuses on the conservation and preservation of textiles post-excavation. The most recent research about the rinsing, drying, and storage of silk 58
maritime textiles of the BZN17 by Telleman and de Bruijne forms the core of this chapter.
Bowens shows in a table, that the chance of finding textiles underwater is at least 50% higher than on dry sites. Despite this, there is hardly any published information about silk textiles found in 59
maritime environments. Also, the unknown impact of the maritime environmental circumstances on the degradation processes of silk textiles makes it difficult to predict the behaviour of fibres in a new dry environment or as a result of conservation treatments. 60
4.1. Environment of shipwreck BZN17 in the Waddenzee
During the field research, the Waddenzee was mentioned as a turbid, dynamic environment on the seabed, which can change rapidly, and where sight is limited from 30 centimetres to two metres. According to the divers of Duikclub Texel, shipwrecks suffer from changes on the seabed due to strong water flow and shrimp fishing.
Literature about other shipwrecks in the Burgzand North area provides more detailed information about the archaeological environment of the textile finds. Vos and Manders , both maritime 61 62
archaeologists at the RCE, describe a comparable archaeological context to the situation of the textile finds from shipwreck BZN17. The maritime environment and diving circumstances at the Waddenzee are completely different from other maritime sites in Europe. Vos describes 12 other shipwrecks near shipwreck BZN17 in the Burgzand North area, which measures 1200 x 600 metre. Of those wrecks, five were evaluated as potential research projects and preserved in situ. For 63
preservation in situ, shipwrecks in the Netherlands at Burgzand area are covered with polypropylene nets with a density of 50%. These nets are loosely placed over the wreck to prevent abrasion and wood-boring attack, because it will capture sand. This method has been used in the Netherlands since the 1980s, and has become standard procedure for shipwreck preservation in situ. Vos and Manders both stated that there is a large change in the stability of this area: ‘The 64 Burgzand area in particular is eroding very heavily. The Afsluitdijk, a 30 km long dike enclosing the former Zuyder Sea, was built between 1927 and 1931, and is the cause of this.’ The erosion of 65
the seabed is due to changing water flow, causing a deepening of the seabed by two metres in the following decades. This makes the Waddenzee an unstable environment. Degradation of 66
Reijs, 2009, 4. 58
Bowens, 2009, 17. 59
Telleman, 2017, 2. and: De Bruijne, 2017, 9. 60 Vos, 2012. 61 Manders, 2014. 62 Vos, 2012, 9-10. 63
Conversation with Arent Vos, Batavialand, Lelystad on 26 May 2017. 64
Manders, 2006, 70. 65
Manders, 2006, 70. and: Vos, 2012, 9-10. 66
