May 2001, Vol. XXIX, No. 4
INSIDE
page 3
Tech Talk: Caring for
musical instruments
page 7 Published by the Minnesota Historical Society
Heritage gardens for county and local historical societies and heritage preservation commissions
Stearns History Museum
7,439 and counting
Century Farms honor Minnesota’s
agricultural heritage
L ooking for ways to celebrate
Minnesota’s first 100 years, planners
of the state’s centennial in 1958
focused on family farms. In a program
co-sponsored by the Minnesota State
acres and be
owned
continuously by
members of the
same family. That
Fair and Minneapolis Star and Tribune year, another 1,177
newspapers, 413 households in 32 farms were
counties were honored as Minnesota designated Century
Century Farm Families – families who Farms by the The third generation of their family to farm
could prove continuous ownership of Minnesota State Fair. near Watkins in Stearns County, Donald
their land since statehood in 1858. Fast-forward to the year 2001 and and Beverly Schmitt have switched from
Eighteen years passed before the dairy to crop farming. Their operation won
the program, now co-sponsored by recognition as a Century Farm in 2000.
idea was revived for the nation’s the Minnesota Farm Bureau, is still
bicentennial in 1976. By then, the going strong.“Every year we add 200
rules had changed. To qualify, to 300 more farms to the list,” says just turned 100 years old, but every
Minnesota farms had to be at least Ken Giannini, the state fair’s group once in a while we get a farm that’s
100 years old, encompass 50 or more sales supervisor. “Most of those have been in the same family since the
1860s.Though most century farms
have had four generations of owners,
If objects could talk some of the farms have had only two
by Fred Livesay owners in 100 years.”
Former curator, Carver County Historical Society Information gathered on the
Ever wandered into an antique shop, found something that intrigued you application form provides a brief
and wondered about the story behind it? That happens to me often in our history of each farm – from whom it
collections storage at the Carver County Historical Society. was purchased, how many acres were
All objects can “talk.” They can tell you much about themselves if you in the original parcel, whether the
know how to “read” them – how to interpret what you see. But it’s so much first owner also had other trades or
easier – and more rewarding – when the donor has left you with a personal occupations, what the farm’s major
history of their treasured possession. crops or products have been over
Sadly, too many of our objects donated years ago cannot tell the stories of time, whether any original buildings
their past. Often, all the information we have is an accession number and the are still standing. All files eventually
donor’s name and home town. Sometimes, though, we come across a piece go to the Minnesota Historical Society
that speaks volumes. archives.
If objects could talk continued on page 2
Century Farms continued on page 2
Stearns History Museum
Century Farms continued from page 1
“When you look at the Century County fairs
Farm files together, they reveal a lot are encouraged
about how Minnesota developed,” says to make an
Giannini.“In the early years of the occasion of
program, most farms added to the list presenting the
were located in the southern half of certificates. And a
the state. Only in recent years have we number of county
been getting applications from historical societies
northern counties, which were annually honor
Kenneth and Jeanette Lahr (right) and
homesteaded later. And in their Century Farm families with
their children are fifth- and sixth-
predominantly urban counties like displays in their museums or coverage generation farmers in Luxemburg
Ramsey County, we won’t get any in their newsletters.With a grant from Township, Stearns County. During the
more applications because there are Kraft Foods, Brown County Historical 1920s and 1930s the Lahr family grew
tobacco, then one of the county’s leading
no more working farms there.” Society staff are gathering oral crops. The original hanging shed is still
Century Farm status is an histories of past and present Century standing.
honorary designation, explains Farm owners for a major exhibit on
Giannini.“It means a lot to the families Brown County Century Farms, slated display. That’s 7,439 farms so far.
but, unfortunately, it carries no to open in 2005. And we’re still counting.”
protection. It won’t save their farm Meanwhile, Ken Giannini extends
if the property is threatened by an invitation to all state fairgoers.
For further reading: Century Farms of
development or foreclosure.” “Next time you’re at the fair, stop by Minnesota: One Hundred Years of Changing Life
Qualifying families do receive a the Minnesota Farm Bureau building. Styles on the Farm, edited by Dorothy L.
sign to display on their property and a You’ll find, arranged by county, the Wanless (Dallas: Taylor Publishing Co., 1985).
certificate signed by the governor. names of all Century Farm owners on
If objects could talk continued from page 1
Among my favorite pieces in our In her accompanying letter, Mabel Mabel died last year at age 94.
collection is an unassuming little vase described the “simple pleasures” of What she left us was a part of herself
from one of our most generous springtime in the country. – and a small piece of the history of
donors.Two years ago I received Her note gave life to rural life in early 20th-century Carver
a small box in the mail from what could have been County.
Mabel Monson Burford of just another artifact. Her Next time you contemplate giving
Watertown. In it was a glass vase words imbued that little something to a museum, write down
barely six inches tall, with a rope- vase with the ability to the stories associated with it. That
twist neck and smooth round talk, to transport me object will have so much more to
base. Rolled up and tucked inside back to her days as a teach others.
was a note: young woman on a
“My special vase on Watertown farm.
the farm, used to hold
early spring flowers –
bloodroots, anemones, When donor Mabel Monson Burford sent this
vase to the Carver County Historical Society,
violets – not ignoring the she included a note about its importance to her.
ever-present dandelions.”
Photo by Bill Johnson
2 Minnesota History Interpreter
TECH TALK
Caring for musical instruments: Part 1
by Paul S. Storch
This is the first of two Tech Talk
Minnesota Historical Society photos by Paul Storch
articles about the challenges of
caring for musical instrument
collections. Paul S. Storch, the
Minnesota Historical Society’s senior
objects conservator, looks at
common types of instrument
materials and how they react to
their environment. Part 1 covers
instrument coatings, leather and
plastics. Part 2, in the June/July
Interpreter, will cover instrument
metals, wood and textiles and
discuss how to handle, display
and store musical instruments.
C
Fig. 1: This autoharp, donated to the Minnesota Historical Society by Garrison Keillor,
ollections of musical instruments shows the variety of modern materials – plastic, metal and paint – used in its construction.
generally contain a wide variety of This high-density plastic is more durable than earlier plastics, which deteriorate with
materials, shapes and sizes.That exposure to light and heat. When acquired by the Society, Keillor’s autoharp exhibited dust
and dirt but little deterioration.
makes their preservation a challenge
to collections managers and museum
curators. But by applying basic
principles of preventative conserva- range of materials you are likely to respond differently to changes in
tion – condition assessment, proper encounter in your collection is relative humidity. For example, wood
handling, safe storage – even considerable.You may find metal, and metal have different expansion
nonprofessionals can ensure the long- wood, leather, plastics, textiles, even rates so, when exposed to higher
term preservation of this popular paper. And then there are the humidity, the wood on an instrument
category of artifact. instrument coatings, both natural and might split where it is restrained from
This article serves only as an synthetic. expanding by a metal ring.
introduction to a very specialized and The instruments that will be In Western instruments of the
complicated topic. For more detailed easiest to care for are those made of later 19th and 20th centuries, one
information on instrument types and one primary material, such as brass may find materials that have an innate
their care, or for a discussion of the for trumpets or wood for violins. Most tendency to deteriorate. This is called
ethics of using historic instruments, instruments, however, have an inherent vice. Examples of
refer to the list of resources to be components of several different materials with an inherent vice are
published in Part 2. The more you materials. Conservators call items certain types of plastics, such as
know about the instrument materials made of multiple materials composite celluloid (cellulose nitrate), which
and the problems in your own objects (see figures 1, 2 and 3). The turns yellow and becomes brittle over
collection, the better informed you care of these artifacts is much more time upon reaction with atmospheric
will be when seeking assistance from difficult. oxygen.
a professional conservator. Several factors make the The condition of any musical
preservation of composite objects instrument depends on these and
The materials maze challenging. Sometimes the materials many other factors – the original
To understand how to preserve are not compatible. They may affect
musical instruments, you must first one another chemically. Or they may
know what they are made of. The Caring for instruments continued on page 4
May 2001 3
TECH TALK
Caring for instruments
continued from page 3
quality of the material, the amount of enamel or glaze;
wear to which the instrument was and plating and
subjected, the level of care it was patination (on
given by its owner and the metal).
subsequent storage or exhibit Wherever these
conditions to which it was exposed. surface coatings are
For an overview of instrument applied, there is the
materials and the environmental potential for
factors that contribute to their physical and Fig. 3: A bottom view of the concertina in
deterioration, see Table 1. The chemical interaction.When the coated fig. 2 reveals damage from improper
handling: the bellows are badly worn and
characteristics of coatings, leather and surface is obscured by dirt and
the leather strap is torn.
plastics are discussed below. Metals, tarnish, as in the case of metal
wood and textiles will be discussed in instruments, it may be difficult to
Part 2 in the June/July Interpreter. identify the coating and to discern paint, when complete films of lacquer
the original appearance of the or varnish are applied to objects that
Coatings instrument’s surface. It is important, expand and contract, the coating can
Coatings are applied to musical therefore, that surface coatings be crack and loosen.This problem is seen
instruments usually to alter or disguise carefully examined and fully mostly on wooden surfaces, but
the surface appearance. Many types of documented by someone with transparent coatings on metals that
coatings have been used by various knowledge of the instrument’s have been heated and cooled may
cultures throughout the centuries. The construction before making decisions show the same problem. The
major categories of coatings found on about care and treatment. breakdown of lacquers on metals
the structural materials, or basic Perhaps the coatings most can lead to spotty local corrosion;
substrate, of instruments are pigment; commonly found on instruments in cellulose nitrate coatings are
paint (pigment or dye with a binding museum collections are lacquers and particularly prone to this.
medium); lacquer or varnish; oil or varnishes (see fig. 4). Both coatings
wax; veneer; paper, leather or textile; are made of natural or synthetic resins Leather
or gums, deposited on Leather is used in various forms
the instrument surface and preparations on both European
through the drying of a and non-European instruments. To
solvent.Varnishes may make it durable and moisture-
also contain drying oils, resistant, raw hides to be used for
such as linseed. Lacquers instrument construction must be
(the term is used here in treated with chemicals known as
its European sense) and tanning agents.Vegetable tanning is
varnishes differ from used where flexibility and water
paints in that they are resistance are required. Mineral
transparent. They may, tanning agents such as alum impart
however, contain durability but do not have great water
pigments or dyes to color resistance. Their use also results in
the instrument surface. lighter surface colors. Organ bellows,
Both lacquers and bagpipe bladders and other
Fig. 2: The mix of wood, textile and paper varnishes are sensitive to ultraviolet instrument components of European
components on a Civil War-era concertina
light, which can degrade the coating manufacture are generally made from
makes the instrument a composite object. vegetable-tanned or combination-
Care of such items, made of multiple materials, leading to yellowing,
materials, can pose special challenges. cracking and brittleness. And, as with tanned cowhide or goatskin.
4 Minnesota History Interpreter
TECH TALK
Condition problems that apply
specifically to leather objects include
surface abrasions, tears, distortion of
the original shape, excessive dryness
and, less commonly, excessive
wetness, mold, insect infestation and
the fading of dyes and colorants. A
condition called red rot, caused by
excessive acidity in the leather, often
affects late 19th-century instruments. Fig. 5: This detail of an Ojibwe rawhide
Red rot is evidenced by loss of the drum, made in the Mille Lacs area during
the late 19th or early 20th century, shows
grain layer, exposing the inner fibrous how changes in temperature and relative
layer; by a powdering of the exposed humidity over the years caused the
surfaces, creating a reddish-orange Fig. 6: Conservation treatment repaired the drumhead to split.
split drumhead. To prepare the object for
color; and by a darkening of the
storage, it was bound with a polyethylene
leather on contact with water. strip to support the repairs. Plastics
Leathers in this condition must be Plastics came into use in musical
handled very carefully to avoid instruments in late 19th century. The
irreversible damage. An instrument fur skins are used. Rawhide is prepared term as used here denotes synthetic
exhibiting the effects of red rot must by removing decayable matter and hair organic polymers and covers a wide
not be played for any reason. from the hide and allowing it to dry range of materials.The earliest plastics
In many non-European into the desired shape. Rawhide is – applied as decorative elements or as
instruments, and some European ones, extremely susceptible to damage by replacements for natural materials
the skin material of choice for insects, fungus and fluctuations in such as wood, bone and ivory – were
drumheads is untanned rawhide. In temperature and relative humidity (see celluloid (cellulose nitrate) and
some African instruments, semi-tanned figures 5 and 6). Bakelite (phenol formaldehyde
composites). Modern plastics include
high-impact polystyrene and high-
density polyethylene and
polypropylene (see fig. 1).
Plastics are most affected by long-
term exposure to light, heat and
certain chemicals. They are
particularly susceptible to
deterioration if the quality of the
plastic was poor to begin with.
Certain plastics, such as cellulose
nitrate, have an inherent vice – an
innate tendency to deteriorate.
Though little can be done to prevent
deterioration of an item with an
inherent vice, the process can be
mitigated with proper handling and
stable exhibit and storage conditions.
Fig. 4: The shellac coating on this violin brings out the luster of the wood. Note the white
powder under the bridge – a dusting of rosin left by the bow during playing. Conservators Caring for instruments continued on page 6
chose to leave the rosin deposit in place as evidence of the instrument’s use.
May 2001 5
TECH TALK
Caring for instruments continued from page 5
Table 1: Materials and the effects of deterioration agents
Material How used Deterioration agents
Coatings – natural and synthetic Surface protection, sound modification, Mechanical stresses; ultraviolet (UV)
decoration light; high relative humidity (RH) (>60%);
oxidation; improper cleaning
Leather (tanned) and other skin products Gaskets in wind instruments, organ Very high (>60%) or very low (38%); acids from finger oils
cables, drums, mechanical parts and dressed leather; mechanical stresses
Textiles Reinforcements for wooden Extreme fluctuations in RH and
constructions temperature; light exposure causing
brittleness or fading of organic colorants
Wood Instrument bodies, sticks, bows, moving High RH (>60%); very low RH (65% RH); mechanical
stresses; improper maintenance
Watch for Part 2 of “Caring for Musical Instruments” in the June/July Interpreter. It will cover instrument woods,
metals and textiles as well as recommendations for the handling, display and storage of a variety of instruments.
Part 2 also will feature a list of references for further reading on the care of instrument collections.
‘Sounds Good to Me’
Exhibit takes a tuneful trip through Minnesota’s musical history
There are musical instruments hall, high school bandroom, Minnesota Historical Society
aplenty in “Sounds Good to Me: Music deejay booth, tent and music
in Minnesota,” an exhibit now on store.
display at the Minnesota History The centerpiece of the
Center in St. Paul.“We wanted to exhibit’s parlor setting is a
show the role music has played in the piano, a prized possession in
lives of ordinary Minnesotans,” many middle-class homes
explains curator Benjamin Filene. So around 1900.Visiting
instead of being organized by students can make music the
chronology or musical genre, the easy way with this 1914
exhibit features a series of settings player piano, which
where music is produced and enjoyed promised “perfection without Minnesota History Center, 651-296-
– a home parlor, ballroom, concert practice.” For exhibit hours, call the 6126 or 1-800-657-3773.
6 Minnesota History Interpreter
AROUND THE STATE
Wright County Historical Society
Spring is in the air
Garden projects brighten museum sites
V olunteers of all ages donned
garden gloves last summer to add a
splash of color to museums around
the state. They braved rain, heat and
insects to plant flowers and
“After the 1998 tornado
here, we had an
opportunity to start
fresh. Now our plantings
are as true to the period
vegetables, shrubs and rose bushes, all as possible.” Club
Guided by master gardeners, the Willing
designed to delight and educate members got plenty of help last Workers 4-H Club planted a rose garden at
visitors. The volunteers will be back summer putting the finishing touches the Wright County Heritage Center.
this spring to make sure their gardens on their work. Several men from the
continue to flourish. community tackled heavier jobs, satisfaction in the results of their
laying sod and building a garden community-service project.” Kid Link
Cox House, St. Peter shed. And a Lutheran youth group plans to continue its involvement in
Everyone has a green thumb in planted shrubs around the house and the garden project. For more
Mariah’s Victorian Garden Club, the carriage house. Now, during summer information call Mielke at 507-931-
volunteer group that tends the and fall months, visitors to the site 4210, ext. 424.
plantings around the Eugene St. Julien end their house tour with a stroll
Cox House in St. Peter. Named for Wright County Heritage Center,
through the gardens. Call Tostenson at
Mariah Cox, wife of the home’s 507-625-1768 for more information. Buffalo
builder, the club has transformed the To help plant gardens around its
grounds of the 1871 house into a Treaty Site History Center, St. Peter new office addition last spring, the
Victorian wonderland. In the front Not to be outdone, the Nicollet Wright County Historical Society
yard is a formal garden, all symmetry County Historical Society’s Treaty Site turned to area 4-H clubs. From their
and elegance. The backyard is more History Center reaped a harvest of its collaboration grew the ambitious
informal, with perennial borders and own last fall. A group of young Children’s Heritage Garden Project,
an herb garden just outside the people from Kid Link, a program designed as an exercise in researching
kitchen door. serving St. Peter’s at-risk youth in community history. To plan their
“Horticulture plays an important grades 5-8, took over the center’s gardens, the 4-Hers started with lists
part in our house tour,” explains Cox Native American/Pioneer Garden. of native vegetation from the
House manager Gerry Tostenson. With heirloom seeds donated by a Minnesota Department of Natural
professor from Minnesota Resources. Then, armed with oral
Eugene St. Julien Cox House
State University, Mankato, history questionnaires, they
the children planted corn, interviewed their families and
sunflowers, squash and neighbors to learn what other plants
other foodstuffs that would were grown in Wright County gardens
have been grown by earlier before 1950.
inhabitants. At season’s end In one day last May, dozens of 4-H
they harvested seeds to use club young people and their families
for this spring’s planting. descended on the Heritage Center to
“Participating youth prepare the garden beds and plant
benefited in many ways,” more than 500 “heritage” plants
says Tina Mielke, Kid Link donated by local greenhouses or
project coordinator. “They transplanted from home gardens. The
learned about the history clubs will return this May to build on
To raise funds for their Cox House garden
of food-growing practices in the their successful first-year effort. For
projects, members of Mariah’s Victorian
Garden Club hold an annual heritage region, gained gardening skills they details call curator Maureen Galvin,
plant sale. can use in the future and took great 763-682-7322.
May 2001 7
BULLETIN BOARD
2001 is International Year of Volunteers Preservation workshops
T
Part of the Minnesota Historical
he United Nations has declared hours to keep Minnesota’s historical Society’s conservation outreach
2001 as the International Year of organizations strong. program, these preservation
Volunteers, issuing a challenge to A note to managers of volunteer workshops are conducted by chief
communities around the world to programs: The National Community conservator Bob Herskovitz and
co-sponsored by local organizations;
promote and celebrate volunteer Service Conference will be held in
they’re free and open to the public.
service. Minneapolis June 28 - July 1. Call the local sponsors for details.
Volunteers play a key role in Conference planners promise lots of
May 10, Renville:
strengthening our communities. Each new ideas on working together in Preserving Family Photographs
year in Minnesota alone, 66 percent of service to communities. Registration is Renville City Library, 7:30-9 p.m.
adults engage in volunteer activities rather expensive but there’s a price Sponsor: Renville Genealogical
with an estimated value of $6.4 break for one-day attendance. For Society: 507-641-3253.
billion.Where would our museums, more information, see May 17, Moorhead:
large and small, be without their help? www.PointsofLight.org/2001NCSC. Preserving Your Family Treasures
If you missed Volunteer Clay County Historical Society, 6:30-
8:30 p.m. Sponsors: Clay County
Recognition Week in April, take time
Historical Society, Moorhead
soon to honor and thank the many Community Education, with partial
volunteers who donate countless funding from the George W. Neilson
Foundation: 218-233-4604.
Minnesota History Interpreter
is published nine times a year by the Historic
Preservation, Field Services and Grants
Non-Profit
Department of the Minnesota Historical Organization
Society. U.S. Postage
PAID
Readers are invited to submit information for St. Paul, MN
publication. To be considered, items must Permit No. 854
reach the editor by the first of the month, 345 Kellogg Boulevard West
two months before publication. Send to
Interpreter Editor, Minnesota Historical
Saint Paul, Minnesota 55102-1906
Society, 345 Kellogg Blvd. W., St. Paul, MN
55102-1906. Address correction requested
Material from this issue may be reprinted
with the following credit line: Reprinted with
permission from Minnesota History
Interpreter, May 2001, Vol. XXIX, No. 4,
published by the Minnesota Historical
Society. Do not reprint material taken from
another source without permission.
On request, this publication is available in
alternative formats: audiotape, large print or
computer disk.
For address corrections e-mail Michele Decker,
michele.decker@mnhs.org, or call 651-296-
5434. For other matters call Tim Glines at 651-
296-5460 or e-mail timothy.glines@mnhs.org.
Britta Bloomberg, Head,
Historic Preservation, Field Services
and Grants Department
Tim Glines, Manager, Outreach Services
Mary Ann Nord, Editor
Kate Raver, Layout
www.mnhs.org