Yes - I think this is about the millionth posting I have received for this.  Thanks for calling Eaton.
Beth

> ----------
> From:         Textile Conservators on behalf of Carlota Sage
> Reply To:     Textile Conservators
> Sent:         Wednesday, March 8, 2006 1:37 PM
> To:   [log in to unmask]
> Subject:      Re: Bread Recipe.
> 
> Flour is an excellent binder.  I imagine it's far more
> likely that the medium of flour & water kneaded to an
> eraser-like consistency will stick more to itself than
> as microscopic particles in the textiles, although I'm
> sure someone out there has researched it and may be
> able to quantify it better.  I wouldn't necessarily
> want to try it on anything valuable without further
> research. :)
> 
> I was under the impression that some historical
> cleaning treatments (i.e., bread dough or sliced
> potatoes for paintings) were the basis for many of the
> modern enzyme treatments used today.  They may still
> be of value/interest to the conservation community if
> they are better understood.
> 
> -Carlota
> 
> --- Michele Pagan <[log in to unmask]> wrote:
> 
> > HI everyone,
> >
> > What am I missing here?
> > One of the most basic things I first read about
> > textile conservation included the dictum to keep
> > food
> > away from textiles, for many reasons, one of which
> > is
> > its attractiveness to pests.
> > Why the use of bread - is this not a food item?
> > Has no-one ever tested the surface of a textile
> > cleaned with bread to determine what kind of residue
> > is left? Why would anyone want to revert to using
> > bread, now that we have so many synthetic sponge
> > materials to choose from?
> >
> > Please help my feeble brain figure this one out!
> >
> > Thanks,
> > Michele
> >
> > --- Joanne Hackett <[log in to unmask]> wrote:
> >
> > > David Miller, Senior Paintings Conservator at the
> > > IMA, supplied the
> > > following recipe for bread used in cleaning
> > > paintings.  He said it was
> > > most often used to clean paintings with no varnish
> > > and a thin ground,
> > > such as a color field paintings, or paintings such
> > > as Morris Louis
> > > paintings that have a great deal of unprimed or
> > > unpainted canvas.  He
> > > first came across the technique when working in
> > > Canada in the 1970's
> > > with Dutch paper conservators.  The recipe was
> > > supplied to him by Jim
> > > Bernstein.
> > >
> > > 1 1/3 pkg. of Fleishman's Yeast - place in warm
> > > water (follow package
> > > directions) until yeast is activated (frothing);
> > > approx. 15 minutes.
> > >
> > > 2-3 cups lukewarm water
> > >
> > > 4-5 cups unbleached all-purpose wheat flour
> > >
> > > Mix together to make a paste then add the flour
> > and
> > > water (only as
> > > much
> > > as needed) to form a dough ball.  Knead as you
> > would
> > > bread.  Do not
> > > add
> > > any salt, oil, or fat.  Let rise until doubled in
> > > size in a bowl
> > > covered
> > > with plastic wrap, then punch down and let rise
> > > until doubled again.
> > >
> > > Place and form in an ungreased, non-stick
> > bread/loaf
> > > pan and bake
> > > @350F
> > > for 45 minutes or until done.
> > >
> > > Let cool and store in a plastic bag.
> > >
> > > Use as soon as possible - will only be good for
> > 2-3
> > > days.  Best to
> > > bake
> > > the day before needed.
> > >
> > > Do not use the crust or dry parts of the bread
> > since
> > > it could abrade a
> > > paint surface.  The interior should be moist and
> > > spongy.  Break up the
> > > interior and apply in a circular motion.  Remove
> > > crumbs from the paint
> > > surface before the bread becomes completely dry.
> > A
> > > haki brush is
> > > useful
> > > for removing crumbs.
> > >
> > > Joanne Hackett
> > > Associate Textile Conservator
> > > Indianapolis Museum of Art.
> > >
> > >
> >
> >
> >
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> 
> 
>