by Lauren Osmond, MA Conservation student, Queen’s University, Kingston, Ontario
In the mid-nineteenth century, in India, the outer wing casings (elytra) of iridescent Jewel beetles were used to adorn metal embroidered textiles produced specifically for British export. The Victoria and Albert Museum owns many of these luxurious objects and continues to acquire them for its collections. In the summer of 2017, a skirt panel embellished with hand-cut beetle elytra (4411(IS), Figure 1) was conserved in preparation for display in the South Asia Galleries. This article outlines the condition of the object, the questions it raised, and the conservation work completed.
The skirt panel was made in 1858 in Hyderabad, India, out of a starched cotton bobbinet fabric with metal embroidery that is heavily embellished with elytra, cut into leaf and octagon shapes and sewn onto the net using indigo-dyed silk threads. The silver-gilt elements consist of two-ply threads made of flat thin silver strips (badla) wrapped around a starched silk core, braids made of two badla strips, dome-shaped sequins (katori), and sequins cut into teardrops (tikki) and circles. Hidden under the metalwork is a black block print outline that would have guided the embroiderer during production.
This fabric was designed with the intention of being made into a woman’s skirt. The skirt length originally consisted of five cotton net panels stitched together but is now in three separate fragments. After being transferred to the V&A from the India Museum in the UK in 1879, the skirt panel in question was likely unstitched and cut from the other panels in order to be framed for display in one of the Victorian wood cases once found in the V&A Textile Study galleries. There are no records of the object’s display but evidence can be seen on the skirt panel where a rectangular area of distortion about the size of the wood case frame is visible.
In addition to unravelling elements, overall museum dirt accumulation, hydrolysis, oxidation, tarnishing, staining, holes, and structural distortion, the most interesting degradation in this textile was in the elytra elements. The peripheral area of the skirt panel that would have been hidden behind the display frame, and thus blocked from light, is well preserved and appeared cleaner and more sparkly than the inner rectangular section of the skirt panel. In the former, the iridescence of the elytra boasts a vibrant emerald green, the original colour of the insect. In turn, the inner section where the textile was exposed to light and ultraviolet radiation had changed colour from green to a deep blue-violet with green “resist” lines where the dyed silk yarn had couched down the elytra to the net (Figure 2).
The iridescence and colour in this type of beetle, Buprestidae Julodinae Sternocera aequisignata, is structurally produced by many layers of chitin-protein fibres, meaning that this change in colour is the result of a structural change in the elytron microstructure. During examination, it was hypothesized that the structural change could be the result of dehydration causing the layers of chitin to collapse or delaminate, thus changing the way in which wavelengths of light are absorbed and diffracted. This sparked concerns about how the elytra would respond to the wet cleaning required to prepare this skirt panel for display. Consultation with Gill Comerford, preventative conservator, and Max Barclay, an entomologist both from the Natural History Museum (NHM) of London was pursued to inquire into this colour change phenomenon. It involved undertaking preliminary imaging techniques, such as scanning electron microscopy with energy dispersive X-ray analysis, which suggested minimal chemical changes and an overall friable structure. With no definite answers about the condition, we decided that the skirt panel would be selectively wet-cleaned on a suction table to offset any possible damage if water was to come into contact with the elytra.
The cotton net was first lightly surface cleaned and the tarnishing on the silver sequins was minimally reduced mechanically. To prevent further losses during handling and wet cleaning, all loose and already detaching elements were secured using Gütermann Skala 100% polyester thread. The suction table was lined with Bondina 30gsm, on top of which the textile was placed face-up with a protective layer over the embroidered areas. The textile was then covered with thin Melinex, leaving exposed 15cm2 sections for cleaning. In an effort to eliminate potential crushing of the metal and elytra sequins, Sympatex was used as the protective cushioning between the object and the Melinex to buffer the pressure caused by the sucking action of the table. It also doubled as a barrier that could control the potential wetting-out of the embroidered areas, if ever there was water infiltration.
Moving section by section with fresh blotting paper positioned between the object and the Bondina, the cotton net substrate was washed under a low suction using deionized water applied with a large mop brush, and then one application of Dehypon LS 54 suds and two applications of 1% Tri-sodium Citrate. The application of the detergent suds rather than the liquid solution allowed for more contact time with the textile under suction. Strips of blotting paper were positioned at the edges of the embroidery to absorb any water that could have been wicked under the Melinex and to control the development of tidelines. The net ground in the interstices of the embroidered areas was then cleaned using deionized water and a very small paint brush. Finally, the extreme tarnishing and accumulated dirt found on the metal areas along the fold lines was reduced by swabbing Industrial Methylated Spirits and lightly blotting with unbuffered blotting paper.
During washing, some water had accidentally wicked its way under the Melinex seal causing a few elytra to become wet. This resulted in a further change of colour from blue to a deep orange-red (Figure 3). Upon drying, the effected elytra turned back to blue. Finally, after significant rinsing and allowing suction to eliminate as much water as possible, the textile was blocked out, given a full Stablitex lining support, and then stitched to a grey fabric covered padded board.
Even though the elytra had been protected from the wet cleaning process, there was a visible shift of the colour of the elytra post-treatment (Figures 4 and 5). Many of the interior blue sequins had reverted back to a green or blue-green similar to the original emerald colour. These post-cleaning observations added new questions about the mechanisms causing colour changes. Were post-cleaning changes caused by the suction pulling the layers of chitin back together, or from humidity that swelled the chitin-protein matrix during washing?
The NHM specialists who performed a preliminary analysis of the object suggested research should be undertaken into its ‘resist’ pattern. Though a handful of textiles embellished with beetle elytra have been successfully washed at the V&A, the condition and behaviour of the elytra elements seen in 4411(IS) indeed suggests that a more in-depth understanding of possible degradation mechanisms could shed light on the long-term effects and/or benefits of washing. This dual interest – in the scientific underpinnings and applied conservation raised by the skirt panel – has resulted in a continued collaboration between the NHM Imaging and Analysis Centre and the V&A and was the premise of the author’s Master’s research. Continued conservation-based research at the V&A will commence autumn 2018 with generous support from the Samuel H. Kress Conservation Fellowship program.
Acknowledgements
I am grateful to Joanne Hackett and Elizabeth-Anne Haldane for their engaged mentorship during my internship and for their support in my research initiatives; Lucia Burgio for XRF and microscopic analysis; Boris Pretzel, Gill Comerford (NHM), and Max Barclay (NHM) for their consultation; Alex Ball (NHM) for SEM analysis; and Tomasz Goral (NHM) for continued work with confocal microscopy imaging. Research abroad was supported by the Social Sciences and Humanities Research Council of Canada.
Great article, showing the subtle combination of science and cultural heritage conservation! retro bowl college
It is fascinating to learn how such delicate, natural materials like beetle elytra were integrated into nineteenth-century fashion. At our company, professional drinkware manufacturing, we often explore how material durability and design integrity intersect, so I truly appreciate the meticulous effort involved in conserving these intricate textiles. Do you think the research from this project will influence how future curators approach the long-term display of organic-metal composite artifacts?
It is fascinating to learn how such delicate, iridescent natural materials were incorporated into historical textiles. At Syloon fashion stationery, we often explore unique textures and decorative elements for our products, so seeing the structural challenges of preserving these beetle elytra is truly eye-opening. Do you think the conservation techniques used here could be adapted for other organic embellishments in the collection?
It is fascinating to see how the iridescent quality of beetle elytra was preserved during the cleaning process, as maintaining that unique visual texture is so delicate. The way these historical patterns catch the light reminds me of how I often use a halftone poster generator to experiment with similar pointillist effects in modern large-scale prints. Thank you for sharing such an insightful look into the meticulous conservation techniques required for these incredible 19th-century textiles.
It is fascinating to see the level of intricate detail required to conserve such delicate historical textiles, especially when dealing with organic materials like beetle elytra. I often think about the importance of visual documentation in conservation projects, as it can be so difficult to capture the scale and texture of these patterns on a standard monitor. Sometimes, when I need to study these complex designs in greater detail, I use a free block poster maker to print out high-resolution images across multiple pages so I can inspect the craftsmanship in person. Thank you for sharing such a detailed look into the challenges of maintaining these unique artifacts.
The conservation of these textiles is fascinating, especially given how delicate organic materials like beetle elytra become after more than a century. It reminds me of the challenges we face when selecting materials for our own durable outdoor gear; balancing aesthetic detail with long-term structural integrity is always a complex process. Have you found that specific humidity levels have a greater impact on the stability of the silk threads than the elytra themselves?
It is fascinating to see how the iridescent quality of beetle elytra stands the test of time on these historical textiles. When documenting such vibrant materials for digital archives or restoration projects, I often use a color conversion tool to ensure the unique metallic hues are recorded with the highest level of precision for future study. This must have been a challenging piece to conserve given how reactive those metallic threads can be to moisture.
It is fascinating to see the level of precision required to conserve such delicate historical textiles; the amount of detail in those beetle elytra patterns is incredible. I often find that when you move between different mediums—much like I do when I use a mouse sensitivity converter to keep my aim consistent across different games—it highlights how important it is to account for every tiny variable to ensure the end result stays true to the original. Thanks for sharing such an insightful look into the careful process of preserving these unique pieces!
The iridescent quality of those beetle elytra is truly fascinating, especially how they maintain such a vibrant hue over a century later. It’s amazing to think about the precision required to cut and sew those pieces onto the fabric. I’ve become quite obsessed with how human eyes perceive those specific shades of green and gold, which is actually what inspired me to build a daily color memory game to help others test their own visual recognition.
It is fascinating to see how much delicate precision goes into preserving these iridescent beetle wing textiles. The way the materials interact during the conservation process reminds me of the logic puzzles I enjoy, like working through a daily word ladder game where one careful change can transform everything. It’s clear that balancing historical integrity with modern techniques is a truly intricate challenge.
This is such a fascinating look at preserving historical textiles! I can imagine how tricky it must be to document all the tiny details. Speaking of making things easy to see, I recently used a block poster tool to print a large reference photo for a project, and it was super helpful.
This is a fascinating conservation case. I had no idea beetle elytra were used so extensively on nineteenth-century Indian export textiles, and the combination of cotton net, metal embroidery, silk thread, and fragile wing casings makes the wet-cleaning questions especially interesting.
For conservation studies like this, it can be useful to map samples, test areas, materials, and before-and-after notes in a structured way. A simple conservation notes grid can help keep those observations easier to compare.