Byz-tex-Athos Project Preventive Conservation on Textiles from Simonos Petra

Christos Karydis PhDOrmylia Foundation, Art Diagnosis Center, Greece

c.karydis@gmail.com

The Byz-tex-Athos project, is the first integrated effort to apply an ‘ in situ’ combined preservation action such as documentation, identification of the component materials and preventive conservation in textiles from Mount of Athos.

This project offers the understanding and therefore the ability to prioritize preventative measurements in the vast textile collections of Mount Athos, instead of interventive conservation treatments for individual items.

Thirty-six post-Byzantine textiles which are displayed and stored to the Monastery of Simonos Petra in Mount Athos have been selected for preventive conservation. Different textile works were documented and further analyzed such as Orthodox clerical garments, decorative/liturgical fabrics and Ottoman fabrics dated from 16th to early 20th century.

A stylistic and historic survey during the documentation was carried out, placing the textiles into analogous categories according to their preservation state. Many ethical dilemmas were also considered as will be always different risks to consider when any object is going to be preserved, and be assessed, whether an ecclesiastical garment or a fabric is requested to go on loan outside of Mount Athos, or to be handled by the brotherhood and the researchers.

INTRODUCTIONHoly Mountain of Athos has been an Orthodox spiritual centre possibly from the 4th century [1] or from the 7th century according to other authors [1,2] and has enjoyed an autonomous status since Byzantine times. Today, Mount Athos is still the most important Orthodox monastic centre of the Eastern Christian Church with over 20 large, occupied and active monasteries, which according to UNESCO are considered to have outstanding universal value, as they house rich collections of artworks of the Byzantine and post-Byzantine art. Objects such as icons, mural paintings, implements (ceramic, silver, gold etc.), manuscripts, documents and sculptures (either stone- or woodcarving) have been extensively studied by many scholars and researchers, elucidating thus –to a great extent the history of the Byzantine and post-Byzantine art. In some cases conservation and restoration treatments have been applied to maintain this treasure of the cultural heritage. Similarly, the Byzantine architecture has also received considerable attention. A visit to Mount Athos reveals the great interest of the Greek Ministry of Culture and several Foundations on the conservation and restoration of the various monastic buildings. Large projects have been carried out almost in all monasteries to ensure that these buildings of an inestimable architectural importance will be maintained through the centuries. On the contrary, the textiles of Mount Athos have been barely studied and have drawn little attention, despite the large collections of Byzantine and (mainly) post-Byzantine textiles which are stored in the various monasteries. We can identify two main reasons for that: (i) integrated projects for the conservation of the Byzantine and post-Byzantine art of Mount Athos have been developed only in the last two decades and the conservation of monuments, icons and mural paintings was considered to be of priority. (ii) In Greece there is

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a significant lack of scientific experience in the analysis and preventive conservation of historic textiles. It is noteworthy that in Northern Greece (where Mount Athos is located) there are no conservators with an expertise in preventive conservation of textiles. Whilst in the southern part of the country, young, well-educated and trained textile conservators can be found. It is also important to mention that only males are allowed to enter the Holy and spiritual place of Mount Athos. Similarly, there are only 2-3 analytical laboratories in Greece, which have the experience in the analysis/study of historic textiles. The time has now come for the peerless textile artworks of Mount Athos of inestimable religious, spiritual and historical importance to be scientifically investigated and treated according to the modern museological and conservation standards. The goal of the present proposal is to contribute towards that direction. Thirty six textiles which were displayed and stored in the Monastery of Simonos Petra for centuries have been studied. The works correspond to various types of textiles and to a long historical period (16th – early 20th century). Five partners and partners leaders were get involved to achieve a strong, international consortium formulation. Partners and partner leaders are summarized as follows:

1. Ormylia Foundation, Art Diagnosis Center (Greece); coordinator; Leader: Dr. Ioannis Karapanagiotis. External collaborator & Pr. Conservator: Dr. Christos Karydis.

2. CNRS, CIHAM/Laboratoire d'Histoire et d'Archéologie (Lyons) and LRMH (Laboratoire deRecherche des Monuments Historiques), Champs-sur-Marne, France; Leader: Dr. Dominique Cardon.

3. Getty Conservation Institute – Science (USA); Leader: Dr. Cecily Grzywacz

4. University of Lincoln, Faculty of Art, Conservation and Restoration (UK); Leader: Sue Thomas.

5. Monastery of Simonos Petra, Mount Athos (Greece); Leader: monk Iakovos.

The goals of the project can be summarized as follows: Documentation of the artefacts (condition reports). Stylistic and historic investigation. Clarification of the origin of the dyes contained in the selected textiles. Preventive Conservation.

It is important to note that the preventive conservation of the textiles is considered to be the most important task. Consequently, the major part of the whole effort was focus on the development and application of appropriate preservation strategies. However, a preservation strategy must be accompanied by other physicochemical and historical studies to ensure that the treated works will be recorded, studied and documented following a multi-disciplinary approach. The latter broadens the impact of the Byz-tex-Athos project

1. EXPERIMENTAL 1.1 Internal Environment: Condition of the Textiles Simonos Petra skeuophilakio (Fig. 1) was the first, which was designed in Mount Athos with the museum standards of the time being. The skeuophilakio is located in the lower floor of the building of the monastery and it is protected by the direct daylight (no windows). Therefore, there are no high luminance levels which if existed could cause fast and irreversible photodegradation. Even though this space was not constructed from the beginning to house a museum collection, however, the environmental conditions are unlikely to promote any

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serious damage in the short term and can relatively easy change to more stable and safe. The skeuophilakio is not open to the public; it is only open for the keepers and the possibility of limited number of visitor researchers. Most of the works are stored in wooden showcases, others in wooden cabinets placed below the showcases (Figs 2,3), hard boxes were also use to store numerous antimensia and some other textiles (i.e. polloi, episcopical mandyas, epitaphios, decorative textiles etc) are nailed on the wall or inside the showcase. Showcases are relatively new and in good condition, however they are not well-sealed identifying dust and dirt in the interior of the case. Dyed blue fabrics have been used to cover the wooden and paper parts of the interior of the cases, different types of adhesives have been used to attach the paper boards on the wooden structures resulting an insufficient use of materials creating an unstable oxidise interior environment for the artefacts. VOCs, especially acetic acid, or formaldehyde emitted by the wooden showcases and the oxidiced ancillary materials has been considered a major decay factor which is going to be discussed further. On the other hand, in most showcases measurements of the RH and T were not monitored as equipment was not available. Only in one showcase RH and T readings were available: RH (more than 65%) and T (more than 24 °C) in the time when the two dehumidifiers were switched off. Some of the textiles stored in the showcases are in direct contact with metallic objects; others are folded in inappropriate ways. Another important point is that the space is not ventilated sufficiently and humidity was observed in many places of the inner wall of the room. Most of the textiles are folded and stored in wooden drawers or cabinets, along with metal or archive materials. Overall, the storage methods used by the monks, the clergy and the keepers are categorised as inappropriate. This derives from the minimal knowledge of the monks about textile preservation, taking also into account the traditional method of folding the garments and all the other liturgical textiles. Unfortunately, there were no objects stored according to modern standards.

Figure 1. View of the interior of the skeuophilakio of Simonos Petra.

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Figures 2 & 3. Examples of storage conditions and folding methods. Wooden showcases, cabinets and hard boxes.

Taking into consideration the above general aspect of the collection the textiles of Simonos Petra are deteriorated by three general factors which can create chemicals reactions (i.e. water, gases and microorganisms), physical (i.e. fire, air, rain, earthquakes, temperature) and biological (i.e. vegetation). Many researchers have categorised them using four grades including the reactions between the component materials (i.e. spin threads constructed by different materials such as cotton and wool or cotton and synthetic fibres) and the human interventions (i.e. museum viewers, previous restorations, handling & transportation) or the metabolism from the material and design construction of the museum building (i.e. wood floors and roofs, foundations etc). In this case three categories of deterioration are going to be use: 1. Chemicals (including all the environmental agents), 2. Physical (including the human actions) and 3. Biological.

1.Chemical Factors Discoloration and fading of the fibres from the UV radiation from previously

storaging and display methods (before the textiles moved to the current space). Decay of the fibres form the acidic ancillary materials (VOCs). Weakening of the fabrics by the corrosion products of the metal threads. Damages by the chemical reaction of the dyes in relation to the existing microclimate

of the storage area (i.e. VOCs, moisture, light). Chemical reaction amongst two different types of materials (i.e. cotton and wool or

polyester and linen) used on the same textiles. These fibres do not react in a similar way in relative humidity and temperature.

Damages from different types of unknown stains, which cause chemical reactions in relation to the component materials of the textile and to the other textiles which come in contact with.

Damages from oily stains coming from Camphor (C10H16O) and Naphthalene (C10 H8) tablets have been occurred. Acidic vapours can also be released from the tablets reacting with the metal threads and the dyes. Nevertheless, camphor (C10H16O) is a substance of nitrocellulose and oxide cellulose, also the phthalate plasticizers used in PVC and others. The plasticizer dibutyl phthalate most of the times contains free oxides which decompose to phthalic acid (C6H4(COOH)2) and butanol (C4H10O). The phthalic acid (C6H4(COOH)2) can produce corrosion to metals and with the hydrolysis also to the fibres and fading and chemical reactions with the dyes [4,5].

2. Physical Factors

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Creases and folds occurred on 80% of the stored and displayed garments and fabrics due to the inappropriate display method.

Incorrect previous alterations (i.e. new buttons or bells, button loops, new lining fabric, stabilization methods (usually using a sewing machine), patches on various areas, new fabric braids around the edges of the garments).

Damages due to the regular contact from the usage of the objects (i.e. sakkoi, felonia, epitrachelia etc).

3. Biological Factors Insect and fungi infestation have been divided in two sub-categories such as the

chemical and mechanical. The mechanical include the loss of the fabric support founded on the textiles which were located on the lower wooden cabinets, splits and holes, which are created by the attack of insects (silverfish). While the mechanical (chemical agents) are the corrosion and the chemical reactions by the remains of the insects and the creation of the place suitable for the mould, which were founded on velvet, ground fabrics and lining fabrics.

Summarizing, Simonos Petra collection appeared to have the following: Short of space resulting in:

Inadequate space for display and storage area. Having limited space the objects are displayed and stored in unorthodox ways.

Inappropriate location of display and storage area.

Short of funds resulting indirectly in: Inappropriate monitoring and control of the environmental conditions in storage and

display areas causing accelerated oxidation, instigation of oxidative and hydrolytic degradation.

No environmental measuring equipment. No use of archive quality ancillary materials.

Short of collection keepers resulting in: Insufficient house keeping and overall cleaning. Insufficient inspection of the artefacts. Unfamiliar with basic aspects of preventive conservation.

1.2 Volatile Organic Compounds (VOCs): An Invisible ThreatThis category covers a wide range of mainly saturated, unsaturated, halogenated and oxygenated (i.e. alcohols, aldehydes and ketones) hydrocarbon pollutants [6], which has been one of the main factor of decay of Simonos Petra textiles. These pollutants can be either gaseous (i.e. sulphur dioxide and nitric oxides) or particulates (i.e. carbon and organic matters) [7]. The choice of suitable display materials can be critical as there are materials that emit organic compounds. During the survey a number of improper materials were detected. Typically, organic acids such as acetic and formic acid are emitted during the degradation of various materials such as wood or wood composites (display cases). According to Knell (1994), Ganiaris and Sully (1998), Timar-Balazsy and Eastop (1999) these products can damage both organic and inorganic materials. For the case of Simonos Petra, all the display cases are made of wood emit acids such methanoic acid, ethanoic acid, hydrogen chloride, butanoic, isobutanoic and peroxide acid. The organic gases, except formaldehyde, are released by the hydrolysis process and can form a reactive environment for organic materials such as textiles and the inorganic component materials accompanying textiles such as metal threads and dyes [8]. The acids produce a microclimate inside the storage and display area, which cause chemical reactions mainly with the metal compounds. The phenomenon of the above reaction have been indentified during the survey mostly on sakkoi and felonia garments which have been folded and placed for more than 5 years direct on the

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wooden shelf’s (Fig. 4). Formaldehyde (HCOOH) on the other hand as an organic acid mainly produced from adhesives used either to bind the wood pieces together such as in the case of MDF or for restoration purposes. This acid can damage the cellulose and protein fibres and the adhesives and starches used in the finishes of the textiles [4]. Additionally, it will react with the polysaccharides and proteins, forming cross-linkages, which will make them more inflexible and rigid.

Figure 4. Sakkos garment deteriorated through the direct contact with wooden shelf.

No varnish top layers have been identified to have been applied on the inside wooden parts of the cases. Varnishes (acting as barrier films) and absorbent materials can reduce and minimize substantially the acidic levels inside the display cases. The wood could be pre-treated, covered first with paint or varnish and then with an aluminum film. However, unsuitable paints can release organic acids (i.e. peroxide acid) harming thus the textile collection. Some paints contain chlorides which also may degrade the textile artefacts and corrode the metal threads. Paints and varnishes globally considered being harmful for organic and inorganic artefacts reported by Knell (1994) and Timar-Balazsy and Eastop (1999) are the oil-based paints, the oil-modified polyurethane paints and the corrosion resistant paints which can damages organic and inorganic artefacts. Polyethene (CH2) coatings can cause yellowing to the textiles. As paints based on PVC compounds causes corrosion on metal elements.

Another category of materials used to compose a storage area or a display case and as in the case of Simonos can harm the interior environment are the top cover fabrics. Fabrics used to cover the inside or outside of the wood boards can also release dangerous acids. The manufactured finishes and dyes can be incompatible with the object. These finishes could cause fading [9] these and react with the metal elements and fibre structure of the textile objects. The new fabrics should be unbleached and washed in hot water to remove the adhesives before application. Fabrics such as linen, cotton and fabrics manufactured from polytetrafluoroethylene and acrylic fibres which have been used as a top cover fabrics in the cases of Simonos are considered as suitable for inner covering of the display cases.

An alternative method in order to avoid emission of VOC is to use metallic structures and paint them with acrylic varnishes to imitate the ‘tradition’ wooden patterns. The only treasury on Mount Athos having metallic showcases is in the Vatopediou monastery as they pay major attention to the museological aspect of the objects concerning their preservation. All the wooden showcases of the treasury have been replaced by stainless steel plates of 2mm thickness.

1.2.1 Adhesives on Storage & Display Cases: Effects on Textile Artefacts Adhesives are also used in the interior space of the display cases of Simonos to reattach secondary support elements for the artefacts. The choice of adhesives for the inner part of the storage and display areas should be based on their chemical, physical and mechanical properties. The most important chemical elements which react with organic and inorganic

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based works of art are the organic compounds of sulphur (S), bases of ammonia (NH3), superoxides and aldehydes (i.e. formaldehyde- HCHO and acetaldehyde- CH3CHO). Plasticizers in adhesives such as phthalic acid (C6H4(COOH)2) can cause corrosion to metals, hydrolysis of the fibres and fading of the dyes. Also butanol (C4H10O) is well known for its solubility properties which can produce chemical reaction with particular dyes and dissolution of adhesives. Important quantities of the above mentioned plasticizers can be found on PVC, PVOH, PVAC and in nitrocellulose. In comparison methacrylic polyester, polyethylene, polypropylene and polyesters are usually free from these plasticizers.

Most of the organic adhesives release gases (organic, nitric and hydrochloric, polyurethane and formaldehyde acids) in different concentrations depending on their interaction with the environmental conditions and should be avoided on display cases.

2.1 DocumentationFive examination proforma were designed for recording enough information about the history, location, condition, handling stability, cut and construction, measurements and other details of each object such as the composition of the objects and their condition state. The chosen documentation form is precisely and concisely written assured, determining the content details of each artefact without including any suppositions regarding materials and generalisations. The Simonos Petra collection has benefit by a well recorded documentation:

Dividing the objects according to their component materials and liturgical functions (i.e. liturgical garments or textiles, decorative textiles etc).

Documenting the iconographic features used in the embroidered textiles. Recording the newly-acquired or donated textiles in the monastery. Speed up collections enquiry, saving time for the keepers and conservators. Minimizing the time needed for the documentation process, especially when dealing

with large textile collections and lack of professionally trained staff [10, 11]. Minimizing the storage space needed for record keeping in comparison with the

traditional full text documentation. Determining the overall environmental condition of the display and storage areas. Providing a back-up system to retain all the information of the collections (i.e. in case

of natural disasters). Safeguarding information of the object in the case of vandalism, loss or theft. Providing an accurate description of the overall preservation state of the collection,

establishing the future interventive or preventive treatment. Providing access to female textile researchers, including accurate visual and textual

information of each artifact.

The unique nature of the Athonian collections demands a flexible and innovative approach for the design of an adequate documentation system. Such an approach allows the conservator/curator to include data concerning also fundamental preservation matters (overall condition before any conservation treatment and handling and transportation stability), something not done by previous researchers whose background was mainly in history and archaeology. A grade system from 1= Minimal to 5= Severe damage, was also developed similarly with the grade system used for the overall condition of individual objects. A field for the handling and transportation stability of the objects was also introduced with a grade system from 1= Stable to 5= Very unstable and finally field for conservation priority for action was introduced from 1= Stable to 4= Urgent.

2.2 Labelling: Definitions, Principles & Materials One of the primary purposes of the documentation public or monastic is to make objects accessible to everyone for further research, preservation. The purpose of the accession number being linked with the object is to associate it with the electronically or written documentation. Most of the textiles of Simonos Petra were labelled in the past by the monks with different accession numbers, usually with black, red or blue inks applied directly onto

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the lining fabric. The ink was absorbed by the lining and sometimes by the ground fabric, causing an irreversible stain. Paper and fabric labels with accession numbers attached on the fabric with pins were also found on the textiles, causing rust stains. When the items were photographed and fully documented then immediately a Tyvek®1422A or 16 (non woven fabric) label with the chosen accession number was stitched onto it (reverse side or in the inside area), preventing any future confusion. Taking all the above into consideration, it was decided to use pre-numbered with xylene-free ink (Staedler® or Artline®) [12, 13]. After testing 69 pens, the Artline® Calligraphy pen, Artline® drawing System and Staedler®

Marsmatic700 were found to be most suitable for labeling having also a good reaction on Tyvek® fabrics. The same ink pens are also recommended by the Museum Documentation Association [14]. Horie (1990) reports that Edding® 1800 Profipen® seems to be best on Tyvek® labels. Buck and Gilmore (1998) recommend Stabilo® All Pencil 8008 (black) as having good properties on glossy surfaces.

RESULTS AND DISCUSSION3. Preventive Conservation: Back to the BasicsPreventive conservation is a wide-ranging subject. It includes controlling and monitoring the environmental conditions, placing the textiles of Athos within defined limits (micro and macro environment), ensuring at the same time that the artefacts are handled, stored, displayed and transported in an appropriate manner. Unfortunately, sometimes little can be done in the monasteries of Mount Athos taking into consideration the limited budget and the ecclesiastic mainly use of these treasuries (Fig. 5). The current philosophy, materials and methods in preventive conservation sometimes does not give firm recommendations on the environmental parameters especially in the temperature and relative humidity levels. Every collection is unique, and every strategy should be designed according to that. There should be a yearly review of the storage conditions to monitor the microclimate. The key components for a preventive conservation strategy for Simonos Petra collection is outlined into three main aspects: a) Preventive Measures (i.e. documentation, replacement of light and materials etc), b) Monitoring (i.e. environmental, VOCs etc) and c) Training (up-to date information to the keepers).

The work after the documentation, condition survey and the physicochemical analysis of the component materials was done in the Monastery of Simonos Petra can be codified as follows:

Documentation (photography, sampling, description reports). Assess the risk before any textile is transferred or loaned outside Mount Athos. It is generally agreed that the main cause of concern during the transportation apart from the vibrations is the shock from the changes in environmental parameters. In the past textiles were moved and transferred from the treasury without being conserved or even stabilise valuable areas.

Remove all the Naphthalene (C10H8) and Camphor (C10H16O) tablets from the collection as they can release acidic vapours [4].

Before any packaging of the textiles with acid free materials, surface mechanical cleaning was carried out from both sides, using high- powered vacuum cleaner and soft brush removing the acidic dust and dirt deposits form the fabric surfaces.

Removing previous restoration treatments mechanically for aesthetically and preservation reasons. Many textiles had previously lined with modern fabrics using heavy stitches and materials causing further damage to the original fabric. While some of these seem to be connected to the original fragments, others connected an original fragment to an added piece of fabric. After these had been separated, the embroidered textiles were carefully vacuum cleaned low suction on both sides. Major confusion was also occurred to the original historical overall view of the artefact.

Remove wax stains from localized areas using mechanical and chemical cleaning. Given the weakened nature of the fibres, the hardened oily wax components could lead to further physical stress in the form of tension and even tears in the fabric and attracting dust and dirt. Preliminary tests to establish whether and how this wax could be dissolved were carried out on small particles of wax removed from the textiles.

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Oxidized particles attached to the textiles by previous treatments were mechanically removed (i.e. nails, pins, sticky labels etc). Stains from oxidations were also removed mechanically or chemically.

Deionised water and ethanol was used to remove particular deposits and stains from the surfaces. The organic solvents were not caused swelling of fibres or any other reaction. Ethanol was used as a common antibacterial with antiseptic properties to remove microorganism from the surface. Ethanol was used effectively against most bacteria and fungi as can kill organisms by denaturing their proteins and dissolving their lipids.

Creases may occur randomly over object or in a defined pattern or be located only in certain areas like the Simonos Petra textiles. Creases in Simonos textile were severe (heavy) and mild (light). The creases were the result of the use of the object (as a result of wear) and the inappropriate handling/storage. Humidification was carried out using ‘open active methods’ to remove specific creases and folds.

Rearranging of the fibres (warp and weft) to their original position and shape were carried out.

Support damages areas with minimal various stitching techniques using silk or synthetic threads. The stitching support was carried out as a first aid on some textiles.

All the objects were rolled in acid free tissue paper, and Tyvek® as a top fabric. The large textiles with no heavy decoration (i.e. epitrachelia) were rolled on cylinders pre-covered with Melinex® and acid free tissue paper. Then re-rolled on an acid free tissue papers and Tyvek® as a top fabric. Epimanika were supported on a Melinex®

base for better handling and display. The choice of the materials was based on their known stability to environmental conditions [15] (Fig.6).

All the objects were stored in metallic cupboards/cabinets and covered with non- acidic materials protecting in this way the objects from dust deposits and VOCs. Within the frameworks of the project 2 horizontal metal cabinets has been purchased, to store the selected (Fig.7).

More monitoring devices will be considered to be placed, upgrade and monitor the display conditions such as digital memory thermo-hygrometer. Two dehumidifiers have been repaired working 24hrs minimizing the high levels of RH and T. The levels of RH are 45% and the temperature 21°C. Stress dosimeters sensors for evaluating short-term and long-term impact (i.e. gaseous pollutants) will also have been considered to be placed. Other preventive measures include the use of Lightcheck® Ultra LCU textile fading cards (as more advanced than the wool standards) to check for the UV exposure of the artefacts. Insect infestation traps such as silverfish traps, insect traps and window traps has been considered to be placed inside the skeuophilakio.

Figure 5. The textiles before any treatment been received by the brotherhood.

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Figure 6. After preventive conservation.

Figure 7. The textiles stored on the metallic cabinet.

CONCLUSIONMount Athos collections is similar if one will take the monks’ perspective into consideration. Athos involves the mystical life of the monks and not the treasuries and the physical environment; it is the non-visible things and not the visible that are important. Under the perspective of the close relationship between doctrine and worship, the best way of studying and treating these objects is to combine an understanding and respect of the liturgical data and theological models [16]. The objective of this project was to provide the abbots, keepers of the Athonian collections with an accurate reflection of the overall state, not only of the particular monastic collection on which this project focuses but also of the other textile collections of Mount Athos. This is offering them the understanding and therefore the ability to prioritize preventative measurements or interventive conservation treatments for individual items. The overall picture of the collections, ranging from the equipment to materials, storage methods and facilities, shows a general lack of commitment to good quality long-term storage and display. This means that through inadequate storage and display the majority of the artefacts are at a high risk.

The time necessary to complete the documentation of the conditions of all the textiles of Athos is unknown. The textile artefacts of Mount Athos have been found to be at high risk. This is not only ethical inappropriate but also financially unsound. The high costs of repair and commitment generated by this sort of neglect in some cases will actually doom some objects to complete deterioration. This funded project first in the history of Mount Athos, has thus offered the opportunity to raise awareness among all the people involved in Athonian culture.

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ACKNOWLEDGEMENTThe Getty Foundation through the Byz-tex-Athos project (www.byztexathos.org) is gratefully acknowledged.

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