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<p>Preface xv</p> <p><b>1 Damage Caused by Physical and Chemical Agents and Their Prevention 1<br /> </b><i>Suza Ahmed, Mohammad Mohsin Ul Hoque and Abubakar Siddik</i></p> <p>1.1 Introduction 1</p> <p>1.2 Characteristics of Typical Museum Textiles 2</p> <p>1.3 Agents Causing Damage to Textile Materials 2</p> <p>1.4 Deterioration of Textiles by Mechanical Stresses 3</p> <p>1.4.1 Dimensional Changes 4</p> <p>1.4.2 Change in Modulus 4</p> <p>1.5 Deterioration of Textiles by Light and Radiation 5</p> <p>1.5.1 Deterioration of Textiles by Photochemical Tendering 5</p> <p>1.5.2 Fading of Dyes 6</p> <p>1.5.3 Accelerated Photochemical Tendering 6</p> <p>1.5.4 Light Ageing 7</p> <p>1.6 Deterioration of Textiles by Humidity and Temperature 7</p> <p>1.6.1 Temperature 7</p> <p>1.6.2 Relative Humidity 7</p> <p>1.6.3 Fluctuating Humidity and Temperature 8</p> <p>1.7 Deterioration by Acid, Alkali, and Water 8</p> <p>1.8 Deterioration of Textiles by Gaseous and Solid Contaminants 8</p> <p>1.8.1 Gaseous Contaminants 9</p> <p>1.8.2 Particulate Contaminants 9</p> <p>1.9 Deterioration of Textiles to Biological Agents 9</p> <p>1.9.1 Insects and Pests 9</p> <p>1.9.2 Mold 11</p> <p>1.9.3 Source of Biological Agents 11</p> <p>1.10 Cases of Damages in Museum Textiles 11</p> <p>1.11 Other Factors Influencing the Damages to Textiles 13</p> <p>1.11.1 Alienation 13</p> <p>1.11.2 Fire 13</p> <p>1.11.3 Theft or Vandalism 13</p> <p>1.12 Avoiding Damages 13</p> <p>1.12.1 Temperature and Humidity 13</p> <p>1.12.2 Avoiding Damages Caused by Light and UV Radiation 14</p> <p>1.12.2.1 Measuring Light and UV Levels 14</p> <p>1.12.3 Avoiding Damages Caused by Pest 15</p> <p>1.12.4 Avoiding Damages Caused by Pollutants 15</p> <p>1.12.5 Avoiding Environmental Damages 15</p> <p>1.13 Conservation of Museum Textiles 16</p> <p>1.13.1 Moth Management 16</p> <p>1.13.2 Integrated Pest Management 16</p> <p>1.13.2.1 Monitoring the Collections 17</p> <p>1.13.2.2 Insect Trapping 18</p> <p>1.13.2.3 Traditional Method 18</p> <p>1.13.2.4 Hygienic Control of Pests 18</p> <p>1.13.2.5 Pest-Proofing 18</p> <p>1.13.3 Laser Cleaning of Tarnished Silver and Copper Threads in Museum Textiles 19</p> <p>1.14 Conclusion 19</p> <p>References 20</p> <p><b>2 Biological Damage to Textiles and Prevention Methods 23<br /> </b><i>Kurmo Konsa, Theodora Kormpaki and Janika Turu</i></p> <p>2.1 Introduction 23</p> <p>2.2 Biodeterioration of Textiles Caused by Microorganisms (Bacteria, Fungi) 25</p> <p>2.2.1 Most Common Species of Microorganisms in Textile Collections 25</p> <p>2.2.2 Deterioration Caused by Microorganisms 26</p> <p>2.2.3 Methods of Examination and Identification of Microorganisms 27</p> <p>2.3 Biodeterioration of Textiles Caused by Insects 28</p> <p>2.3.1 Most Common Species of Insects in Textile Collections 28</p> <p>2.3.2 Deterioration Caused by Insects 29</p> <p>2.3.3 Monitoring and Identification of Insects in Textile Collections 30</p> <p>2.4 The Control of Biodeterioration of Textiles 30</p> <p>2.4.1 Prevention Methods 31</p> <p>2.4.1.1 Construction Aspects 31</p> <p>2.4.1.2 Storage Conditions 31</p> <p>2.4.1.3 Storage 32</p> <p>2.4.1.4 Room Monitoring 32</p> <p>2.4.2 Remediation Methods 33</p> <p>2.4.2.1 Low Temperatures (Freezing) 34</p> <p>2.4.2.2 High Temperatures (Heating) 34</p> <p>2.4.2.3 Gamma Radiation 34</p> <p>2.4.2.4 Modified Atmospheres 35</p> <p>2.4.2.5 Mechanical Removal 35</p> <p>2.4.3 Chemical Control Methods 35</p> <p>2.4.4 New Methods for the Control of Biodeterioration of Textiles 36</p> <p>2.5 Biological and Chemical Risk Factors in the Preservation and Conservation of Textiles 37</p> <p>2.6 Conclusion 37</p> <p>References 38</p> <p><b>3 Microscopy of Historical Textiles 45<br /> </b><i>Hana Lukesova</i></p> <p>3.1 Introduction 45</p> <p>3.2 Optical Microscopy 46</p> <p>3.2.1 Stereomicroscopes 46</p> <p>3.2.1.1 Textile Techniques 47</p> <p>3.2.1.2 Finishing 47</p> <p>3.2.1.3 Repairs and Changes 48</p> <p>3.2.1.4 Reflected Light Microscopy 48</p> <p>3.2.2 Transmitted White Light and Polarized Light Microscopy 48</p> <p>3.2.2.1 Transmitted White Light Microscopy 48</p> <p>3.2.2.2 Polarized Light Microscopy 49</p> <p>3.2.2.3 Fiber Identification 50</p> <p>3.2.2.4 Finishing 51</p> <p>3.2.2.5 Microbiological Attack 52</p> <p>3.2.3 Digital Microscopy 52</p> <p>3.3 Electron Microscopy 53</p> <p>3.3.1 Scanning Electron Microscopy 53</p> <p>3.3.1.1 Sample Preparation 53</p> <p>3.3.1.2 Fiber Identification of Animal Hairs 53</p> <p>3.3.1.3 Finishing 54</p> <p>3.3.1.4 Dyeing 54</p> <p>3.3.1.5 Quality 54</p> <p>3.3.1.6 Degradation 55</p> <p>3.3.2 Transmission Electron Microscopy 55</p> <p>3.3.2.1 Sample Preparation 56</p> <p>3.4 Conclusion 56</p> <p>References 57</p> <p><b>4 Computational Structural Analysis 61<br /> </b><i>Rana Al Ali, Mohamed Dallel, Boumediene Nedjar and Elhem Ghorbel</i></p> <p>4.1 Introduction 61</p> <p>4.2 Mechanical Modeling of Textile 62</p> <p>4.2.1 Microscopic Modeling of Textiles 63</p> <p>4.2.2 Mesoscoping Modeling of Textiles 63</p> <p>4.2.3 Macroscopic Modeling of Textiles 65</p> <p>4.3 Historical Textiles’ Modeling 67</p> <p>4.3.1 Creep in Structural Analysis 67</p> <p>4.3.2 Finite Element Method 68</p> <p>4.3.3 The Rheological Model 68</p> <p>4.3.3.1 Kinematic Associated with Elastic Behavior 70</p> <p>4.3.3.2 Constitutive Equations Associated to the Elastoplastic Branch [I] 71</p> <p>4.3.3.3 Constitutive Equations Associated to the Viscoelastic Branch [II] 76</p> <p>4.4 Application to Tapestries: Case Studies 76</p> <p>4.4.1 Application 1: The Importance of Considering the Orthotropy 77</p> <p>4.4.2 Application 2: Effect of Hanging System 78</p> <p>4.4.3 Application 3: Presence of Tears and Slits 79</p> <p>4.5 Conclusion 79</p> <p>Acknowledgement 80</p> <p>References 80</p> <p><b>5 Characterization of Ancient Dyes and Prints 85<br /> </b><i>Hannah Dewey, Meghan Lord and Januka Budhathoki-Uprety</i></p> <p>5.1 Introduction 85</p> <p>5.2 Characterization Methods 87</p> <p>5.2.1 Thin Layer Chromatography 87</p> <p>5.2.2 High-Performance Liquid Chromatography 89</p> <p>5.2.2.1 Dyestuff Analysis 90</p> <p>5.2.2.2 Sample Preparation and Extraction Methods 90</p> <p>5.2.2.3 Detectors 92</p> <p>5.2.2.4 Limitations 93</p> <p>5.2.3 Raman Spectroscopy 94</p> <p>5.2.4 Infrared Spectroscopy 96</p> <p>5.2.5 Fluorescence Spectroscopy 97</p> <p>5.2.6 Fiber Optic Reflectance Spectroscopy 99</p> <p>5.2.7 Mass Spectrometry 100</p> <p>5.3 Printing Techniques 101</p> <p>5.4 Conclusion 102</p> <p>References 103</p> <p><b>6 State-of-the-Art Characterization Methods for Historic Textiles 107<br /> </b><i>Reza Assefi Pour, Mazeyar Parvinzadeh Gashti and Jinxin He</i></p> <p>6.1 Introduction 108</p> <p>6.2 Dating of Textiles 108</p> <p>6.2.1 Radiocarbon Dating 109</p> <p>6.2.1.1 Advantages and Limitations of Radiocarbon Dating 109</p> <p>6.2.1.2 Radiocarbon Dating Measurements 110</p> <p>6.2.1.3 The AMS Method of Radiocarbon Dating 110</p> <p>6.2.2 Micromechanical Method for Textiles Dating 111</p> <p>6.3 Molecular Analysis 112</p> <p>6.3.1 DNA Analysis 112</p> <p>6.3.2 Amino Acid Composition 114</p> <p>6.4 Proteomics 115</p> <p>6.4.1 Principle and Evaluation Process of Historic Textiles 115</p> <p>6.4.2 Why Proteomics Is Preferred 117</p> <p>6.5 Isotopic Tracing 118</p> <p>6.5.1 The Strontium Isotope Tracing System 118</p> <p>6.5.2 Benefits of Sr Isotope Tracing 119</p> <p>6.5.3 Limitations of Sr Isotope Tracing 119</p> <p>6.6 Thermal Analysis 120</p> <p>6.7 Optical Measurement Tests 121</p> <p>6.8 Analytical Methods for Dye Analysis 122</p> <p>6.8.1 Mass Spectrometry 123</p> <p>6.8.2 Chromatography 123</p> <p>6.8.3 Electrophoresis 124</p> <p>6.8.4 Microextraction 124</p> <p>6.9 Conclusion 126</p> <p>References 126</p> <p><b>7 Nondestructive Testing of Historic Textiles 131<br /> </b><i>Anna Klisińska-Kopacz</i></p> <p>7.1 Introduction 131</p> <p>7.2 Sampling 132</p> <p>7.3 Analytical Investigation Techniques Using X-Rays 133</p> <p>7.3.1 X-Ray Radiography 133</p> <p>7.3.2 X-Ray Fluorescence 135</p> <p>7.3.3 Scanning Electron Microscopy with X-Ray Microanalysis 137</p> <p>7.3.4 X-Ray Diffraction 139</p> <p>7.4 Vibrational Spectroscopy 140</p> <p>7.4.1 Fourier Transform Infrared Spectroscopy 141</p> <p>7.4.2 Raman Spectroscopy and Surface-Enhanced Raman Spectroscopy 143</p> <p>7.5 Case Studies 144</p> <p>7.5.1 17th Century Painted Silk Banner 144</p> <p>7.5.2 16th Century Carpet 146</p> <p>References 148</p> <p><b>8 NDT of Historic Textiles—Brief on Theory and Applications 151<br /> </b><i>Anuradha Sankaran, Namitha Nandanan Nedumpillil and Seiko Jose</i></p> <p>8.1 Introduction 151</p> <p>8.2 X-Ray Fluorescence Spectroscopy 152</p> <p>8.3 Atomic Force Microscopy 154</p> <p>8.4 Raman Spectroscopy 154</p> <p>8.5 Computed Tomography 156</p> <p>8.6 X-Ray Photoelectron Spectroscopy 157</p> <p>8.7 Optical Microscope 157</p> <p>8.8 Scanning Electron Microscope and Energy Dispersive X-Ray Spectrometer 159</p> <p>8.9 Carbon Dating 161</p> <p>8.10 X-Ray Diffraction 162</p> <p>8.11 Ultraviolet-Visible Spectroscopy 163</p> <p>8.12 Fourier Transform Infrared Spectroscopy 164</p> <p>8.13 Conclusion 165</p> <p>References 165</p> <p><b>9 Non-Invasive Analytical Techniques for the Study of Dyes and Pigments in Historical Textiles 171<br /> </b><i>Lavinia de Ferri and Fabrizio Andriulo</i></p> <p>9.1 Introduction 171</p> <p>9.2 Photographic Methods 172</p> <p>9.2.1 Infrared Reflectography (IRR) 173</p> <p>9.2.2 Visible-Induced Visible Luminescence/Fluorescence 173</p> <p>9.2.3 UV-Fluorescence (or UV-Luminescence) (UVF-UVL) and UV Reflectance (UVR) 174</p> <p>9.2.4 False-Color Imaging 174</p> <p>9.2.5 Multispectral/Hyperspectral Imaging 175</p> <p>9.3 Colorimetry 176</p> <p>9.4 Reflectance Spectroscopy 177</p> <p>9.5 Fluorimetry 185</p> <p>9.6 Diffuse Reflectance Infrared Fourier-Transform (DRIFT) Spectroscopy 186</p> <p>9.7 Matrix-Transfer Surface-Enhanced Raman Scattering (SERS) 187</p> <p>References 187</p> <p><b>10 Micro-Invasive Analytical Techniques for the Study of Dyes and Pigments in Historical Textiles 191<br /> </b><i>Lavinia de Ferri and Fabrizio Andriulo</i></p> <p>10.1 Introduction 191</p> <p>10.2 Spectroscopic Methods 192</p> <p>10.2.1 Elemental Techniques: Energy Dispersive System/Energy Dispersive X-Ray (EDS/EDX) and Laser Induced Breakdown Spectroscopy (LIBS) 192</p> <p>10.2.2 Ultraviolet-Visible (UV-VIS) 193</p> <p>10.2.3 Surface-Enhanced Raman Scattering (SERS) and Fourier Transform (FT)-Raman 195</p> <p>10.2.4 Fourier Transform-Infrared (FT-IR) Spectroscopy 201</p> <p>10.3 Chromatographic Methods 202</p> <p>10.3.1 Paper and Thin Layer Chromatography (PC and TLC) 202</p> <p>10.3.2 High-Pressure/-Performance Liquid Chromatography (HPLC) 204</p> <p>10.3.3 Ultra High-Performance Liquid Chromatography (UHPLC) 205</p> <p>10.3.4 Gas Chromatography-Mass Spectrometry 206</p> <p>10.4 Other Techniques 208</p> <p>References 209</p> <p><b>11 Destructive Analytical Techniques for the Analysis of Historic Textiles 215<br /> </b><i>Namitha Nandanan Nedumpillil, Anuradha Sankaran, Seiko Jose, Sneha George and Sabu Thomas</i></p> <p>11.1 Introduction 215</p> <p>11.2 NMR Spectroscopy 216</p> <p>11.3 Mass Spectrometry 217</p> <p>11.4 Secondary Ion Mass Spectrometry (SIMS) 217</p> <p>11.5 Inductively Coupled Plasma Mass Spectroscopy 218</p> <p>11.6 Laser Ablation Inductively Coupled Plasma Time of Flight Mass Spectrometry (LA-ICP-TOF-MS) 218</p> <p>11.7 Matrix-Assisted Laser Desorption Ionization-Time of Flight (MALDI-TOF) 219</p> <p>11.8 Transmission Electron Microscope 221</p> <p>11.9 Thermo Gravimetric Analysis 221</p> <p>11.10 DNA Analysis 222</p> <p>11.11 Amino Acid Composition 223</p> <p>11.12 Peptide Mass Fingerprinting 223</p> <p>11.13 Chromatographic Techniques 225</p> <p>11.14 High-Performance Liquid Chromatography 226</p> <p>11.15 Thin Layer Chromatography 228</p> <p>11.16 Gas Chromatography 229</p> <p>11.17 Inductively Coupled Plasma-Optical Emission Spectroscopy 229</p> <p>11.18 Conclusions 230</p> <p>References 231</p> <p><b>12 Assessment of Degradation, Repair, and Stabilization of Antique Textiles with a Focus on Tapestries 235<br /> </b><i>Rosa Costantini</i></p> <p>12.1 Introduction 235</p> <p>12.2 Mechanical Damage Mechanisms in Historic Tapestries 236</p> <p>12.3 Conserving Tapestries 237</p> <p>12.3.1 Current Methods for Structural Support and Image Reintegration 238</p> <p>12.3.2 Current Display Methods 239</p> <p>12.4 Evaluating the Mechanical Behavior of Tapestries: Invasive Techniques 239</p> <p>12.4.1 Evaluating the Efficacy of Conservation Strategies Using Tensile Testing 240</p> <p>12.5 Evaluating the Mechanical Behavior of Tapestries: Noninvasive Techniques 241</p> <p>12.5.1 Evaluating the Efficacy of Conservation Strategies Using DIC 242</p> <p>12.6 Conclusions 243</p> <p>References 243</p> <p><b>13 Antique Tapestries and Carpets: A Multidisciplinary Experimental Research Method for Their Diagnosis and Dating 247<br /> </b><i>Gianpaolo Rosati, Carol Monticelli, Matteo Tommasini, Chiara Zanchi and Alessandra Zanelli</i></p> <p>13.1 Introduction 248</p> <p>13.2 Antiques Textile Surfaces, Means of Cultural Testimony and Way of Improving the Comfort in Historical Buildings 248</p> <p>13.3 Recent Research and Case Studies on Ancient Carpets 252</p> <p>13.4 Recent Research and Case Studies on Ancient Tapestries 255</p> <p>13.5 IR Spectroscopy to the Molecular Wool Characterization: Implications for Dating Purposes 258</p> <p>13.6 Conclusion 262</p> <p>Acknowledgment 263</p> <p>References 263</p> <p><b>14 Scientific Study of Fibers and Natural Dyes Used in 19th Century Prayer Carpet From Jiwajirao Scindia Museum Gwalior, Using LC-MS and UV-VIS 267<br /> </b><i>Md. Ali Nasir, Satish. C. Pandey and M.V. Nair</i></p> <p>14.1 Introduction 267</p> <p>14.2 Materials and Methods 269</p> <p>14.2.1 Preparation of Samples 269</p> <p>14.2.2 Instrumentation 269</p> <p>14.3 Extraction of Dyes 270</p> <p>14.3.1 Liquid Chromatography-Mass Spectrometry (LC-MS) 270</p> <p>14.3.2 UV Spectroscopic Measurements 270</p> <p>14.4 Result and Discussion 270</p> <p>14.4.1 Dyes Identified in 19th Century Carpet from Jiwaji Scindia Museum, Gwalior Sample 271</p> <p>14.4.2 Red Dye 271</p> <p>14.4.3 UV-Visible Spectroscopy 271</p> <p>14.4.4 Green Dye 273</p> <p>14.4.5 UV-Visible Spectroscopy 275</p> <p>14.4.6 Yellow Dye 275</p> <p>14.4.7 Black Dye 276</p> <p>14.4.8 UV-Visible Spectroscopy 278</p> <p>14.5 Future Scope and Studies 280</p> <p>14.6 Conclusion 280</p> <p>Acknowledgment 280</p> <p>References 281</p> <p><b>15 Analysis and Visualization of Historical Textiles for the Needs of Museum Conservation and Exhibition 283<br /> </b><i>Maria Cybulska</i></p> <p>15.1 Introduction 283</p> <p>15.2 Deterioration of Textiles 284</p> <p>15.3 Methods of Analysis of Historical Textiles 285</p> <p>15.4 Analysis of Fibers 285</p> <p>15.5 Analysis of Threads 290</p> <p>15.6 Analysis of Woven and Other Textile Objects 292</p> <p>15.7 Identification of Dyes and Color Analysis 293</p> <p>15.8 Visualization and Virtual Reconstruction of Textiles 294</p> <p>15.9 Conclusion 299</p> <p>References 300</p> <p><b>16 Conservation of a Coptic Tapestry Fragment from Red Monastery Excavation 303<br /> </b><i>Neven Fahim</i></p> <p>16.1 Introduction 303</p> <p>16.2 Documentation and Condition 304</p> <p>16.2.1 Description of Archaeological Object 304</p> <p>16.2.2 The Analytical Method and Technical Study 305</p> <p>16.2.3 Dating of the Object 305</p> <p>16.2.4 State of Deterioration 305</p> <p>16.3 Testing and Analysis 307</p> <p>16.3.1 Morphological Study 307</p> <p>16.3.2 Scanning Electron Microscope 307</p> <p>16.3.3 Fourier Transform Infrared Analysis 307</p> <p>16.3.4 Analysis of Color Values 308</p> <p>16.4 Results and Discussion 308</p> <p>16.4.1 Stereo Microscope 308</p> <p>16.4.2 Scanning Electron Microscope 308</p> <p>16.4.3 FTIR Analysis 310</p> <p>16.4.4 Colorimetric Measurements 312</p> <p>16.5 Treatment Methodology 312</p> <p>16.5.1 Humidification Process 313</p> <p>16.5.2 Testing the Acidity 313</p> <p>16.5.3 Cleaning Process 313</p> <p>16.5.3.1 Chemical Cleaning 313</p> <p>16.5.3.2 Wet Cleaning 313</p> <p>16.5.4 Preparation of Foam and Textile Support 314</p> <p>16.5.5 Permanent Fixation 314</p> <p>16.6 Conclusion 315</p> <p>Acknowledgment 315</p> <p>References 316</p> <p><b>17 Synthetic Coatings in Fashion Collections: Identification and Preservation Issues 319<br /> </b><i>S. França de Sá, K. Verkens, A. Rizzo, G. Petersen, S. Scaturro, I. Correia and M. Carita</i></p> <p>17.1 Introduction 320</p> <p>17.2 Conservation Challenges in Fashion Museum Collections Holding Polyurethane and Plasticised Poly(Vinyl Chloride) Coatings 321</p> <p>17.2.1 The Entrance of TPU and p-PVC in Fashion 321</p> <p>17.2.2 Degradation of TPU and p-PVC 322</p> <p>17.2.3 Issues and Recommendations for the Preservation of TPU and p-PVC Coatings in Museum Collections 322</p> <p>17.2.4 Case Studies From MUDE, MET and MoMu Collections 324</p> <p>17.2.4.1 TPU Coatings 327</p> <p>17.2.4.2 p-PVC Coatings 332</p> <p>17.2.4.3 Mixed Compositions 335</p> <p>17.2.4.4 Main Considerations 336</p> <p>17.3 Experimental 337</p> <p>17.3.1 Met Museum 337</p> <p>17.4 Damage Atlas 337</p> <p>17.5 Conclusions 341</p> <p>17.6 Future Research 341</p> <p>References 342</p> <p><b>18 Nanotechnology-Based Interventions in Museum Textiles 345<br /> </b><i>Ankita Shroff, Anjali Karolia and Patricia I. Dolez</i></p> <p>18.1 Introduction 346</p> <p>18.2 Applications of Nanotechnology in Museum Textiles 348</p> <p>18.2.1 Diagnosis of Museum Textiles Using Nano-Enabled Technologies 349</p> <p>18.2.2 Cleaning of Museum Textiles Using Nano-Enabled Technologies 350</p> <p>18.2.3 Consolidation and Protection of Museum Textiles Using Nano-Enabled Technologies 352</p> <p>18.3 Benefits and Opportunities for Future Developments in Preservative and Conservative Practices 354</p> <p>18.4 Conclusion 356</p> <p>Acknowledgments 357</p> <p>References 357</p> <p><b>19 Digital Technologies and Virtual Museums—Novel Approach 361<br /> </b><i>Kanika Sachdeva and Harshita Chaudhary</i></p> <p>19.1 Introduction 361</p> <p>19.2 History of Digital Technologies in Museums 362</p> <p>19.3 Why Do We Need Digital Technologies in Museums? 363</p> <p>19.4 Digital Technologies—Tools and Techniques 364</p> <p>19.4.1 Multimedia Materials 364</p> <p>19.4.2 The World Wide Web 364</p> <p>19.4.3 Computer-Mediated Conferencing 364</p> <p>19.4.4 Presentation Technologies 365</p> <p>19.4.5 Simulations and Models 365</p> <p>19.4.6 Microworlds and Games 365</p> <p>19.4.7 Streaming Digital Audio and Video 365</p> <p>19.4.8 Visualization-Based Utilities 365</p> <p>19.5 Applications of Digital Technologies in the Museum 368</p> <p>19.5.1 Offline Data Banks Like CD-ROMS 368</p> <p>19.5.2 Websites 369</p> <p>19.5.3 Online Databases (National Digital Repository for Museums of India) 370</p> <p>19.5.4 Virtual Museums 370</p> <p>19.5.5 Interactive Exhibition Resources/Fusion Exhibitions (Sardar Patel Exhibition) 372</p> <p>19.5.6 Google Arts and Culture App 372</p> <p>19.5.7 Roboguides 373</p> <p>19.5.8 BYOD in Museums 373</p> <p>19.6 Pros and Cons of Digital Technologies as Compared to Traditional Exhibitions 374</p> <p>19.6.1 Pros 374</p> <p>19.6.2 Cons 376</p> <p>19.7 Conclusion 376</p> <p>References 377</p> <p>Index 379</p>

<p><b>Seiko Jose</b> is a scientist at Central Sheep and Wool Research Institute, Avikanagar, Rajasthan, India. He has more than 16 years of experience in textiles of which 7 years in the industry and 9 years in research. He has extensive experience in cotton, silk, and linen processing industries as well as natural and synthetic dyes. Since 2013, he has handled many natural fibers like wool, jute, pineapple leaf fiber, coir, ramie, etc. He contributed to more than 40 international peer-reviewed research papers and 11 book chapters.</p> <p><b>Sabu Thomas, PhD, </b>is the Vice-Chancellor of Mahathma Gandhi University, Kottayam, Kerala, India. He is a fellow of the Royal Society of Chemistry and has been ranked no.5 in India with regard to the number of publications. Prof. Thomas’s research group specializes in the areas of polymers, natural fiber, biocomposites, sorption and diffusion, interpenetrating polymer systems, recyclability and reuse of waste plastics and rubbers, elastomer crosslinking, dual porous nanocomposite scaffolds for tissue engineering, etc. He has published more than 1200 publications as well as over 150 books.</p> <p><b>Pintu Pandit, PhD, </b>is an assistant professor in the Textile Design Department at the National Institute of Fashion Technology under the Ministry of Textiles, Govt. of India, Patna campus. He is a PhD (Tech.) and M.Tech. in Fibers and Textile Processing Technology from the Institute of Chemical Technology, Mumbai, India. He has published many research articles in SCI journals as well as edited 4 books with the Wiley-Scrivener imprint.</p> <p><b>Ritu Pandey, PhD, </b>is an assistant professor at Chandra Shekhar Azad University of Agriculture & Technology (CSAUAT) Kanpur, India She has 25 years of teaching experience. She has published more than 35 research papers in various national and international journals and her specialist area is in flax.</p>

<p><b>Textiles have been known to us throughout human history and played a vital role in the lives and traditions of people. Clothing was made by using different materials and methods from natural fibers. There are different varieties of textiles, out of which certain traditional textiles, archaeological findings, or fragments are of cultural, historical, and sentimental value such as tapestries, embroideries, flags, shawls, etc. These kinds of textiles, due to their historical use and environmental factors, require special attention to guarantee their long-term stability. Textile conservation is a complex, challenging, and multi-faceted discipline and it is one of the most versatile branches of conservation. </b> <p>Volume II of the <i>Handbook of Museum Textiles</i> provides precise instruction for conservation techniques to preserve the textile heritage more scientifically and technologically. Additionally, the book covers the most modern techniques used to characterize archaeological textiles and dyes. Progress and innovation in nanotechnology-based interventions in museum textiles are emphasized. Chapters cover the general introduction to biological damage caused by physical and chemical agents and their prevention methods. Information on microscopy and characterization of historical textiles, ancient dyes, and prints is highlighted. Several aspects of assessment of degradation, repair, and stabilization of antique textiles are presented in depth. Experimental research methods for diagnosis and scientific study of fibers and natural dyes using LC-MS and UV-VIS are described. Practical knowledge based on analysis and visualization of historical textiles for the needs of museum conservation, exhibition, digital technology, and virtual museums is addressed as well. <p><b>Audience</b> <p>It will serve as an educational asset and tool for researchers, art scholars, archaeologists, museum curators, and those who are interested in the field of traditional or historic textile collections.

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