The Objects Lab at the Ford Conservation Center has completed treatment of a drum that was used by Moses Littlefield, drum-major of a Boston regiment during the War of 1812. When it arrived from the State Historical Society of Iowa, there were many missing components and structural issues caused by the degradation of materials over time.
The paint on the side of the drum was flaking and had numerous losses, making it difficult to see the decorative eagle motif and the early U.S. motto “E Pluribus Unum” (“Out of many, one”). The wooden rims (counter hoops) had come loose and the top batter head was missing. The bottom snare head was present, however its wooden hoop was warped and the hide cover was split in several areas. The rope and leather “ears” used to tension the drum components were fragile and breaking.
Much of the deterioration is visible in this before-treatment image. The drum was photographed upside-down because the bottom snare head was attached, but so warped and fragile that the weight of the drum would have damaged it further.
The variety of materials present and their unique conservation needs resulted in several treatment steps, including: consolidating flaking paint and splitting wood; cleaning dirt and residues from surfaces; removal of old adhesives; repairing, humidifying, and stretching the old skin; replacing the missing head; stabilizing degrading leather components to the extent possible; and reducing corrosion from the metal hardware.
This image illustrates the extensive damage to the existing snare head. The hide has split from shrinkage over time. An old museum label dating to the mid-1900s is adhered directly onto the snare head and shows extensive insect damage. Pieces of broken leather straps rest on the drum head.
The drum was very dirty, but also had several fragile components. The first step was to consolidate any loose or flaking paint before surface cleaning to prevent further losses. After paint consolidation, the drum was disassembled. Each component was then cleaned to the extent appropriate using soft brushes, sponges, and solvents chosen through testing.
The splitting wood on the counter hoops was stabilized using appropriate adhesives and light clamping. The same adhesives were used to stabilize cracks in the body of the drum.
The drum was missing its original hide-covered batter head. Conservator Rebecca Cashman worked with Cooperman Drum in Vermont to have a custom batter head made as a replacement.
The snare head during cleaning, before the removal of the old museum label. The mid-20th century display label was removed but retained as an artifact of the drum’s display history.
The tears on the original snare head were given temporary repairs, and then the head was placed inside a humidification chamber. The humidification process took place over several days. As more moisture was added to the chamber using an ultrasonic humidifier, the old hide became supple and its edges could be stretched around the wooden replacement hoop. Clamps and weights were then used to hold the hide in place on the hoop while it slowly acclimated to normal humidity levels.
The resonant head sits in a humidification chamber. It has been re-shaped over the new hoop. Several buffering materials protect the skin from indentations that could be caused by the clips and weights.
The temporary mends were removed and replaced with suture-style repairs on both sides of the hide. Repair materials were adhered to the hide using a reversible adhesive. Some slack was left in the mends to accommodate changes in relative humidity. The repairs were toned with reversible materials to make them less noticeable.
Detail of goldbeater’s skin repairs on the original snare head hide.
The snare head overall, after tear repair.
The new bright goat skin hide on the batter head was also toned to better resemble the original snarehead hide.
The repaired snare head and the replacement batter head were placed in their correct positions on the drum’s shell. The counter hoops were placed on top of the heads to hold them in place. The drum was re-strung using historically appropriate hemp rope, as the degraded cotton twine that had been on the drum when it arrived appeared to be a replacement. The rope was pulled tightly enough to hold the components together, but not as tight as would be appropriate on a new drum.
Object conservator Rebecca Cashman strings the drum with the replacement hemp twine.
Next, the leather components were consolidated to the extent possible. The cracked and shrunken drum ears were mended and reinforced with a non-directional polyester fabric. This stabilized the leather to help prevent further loss from weakened areas, but it is not strong enough that the ears can be pulled on to tension the drum.
The four segments of the leather strap were joined together where possible with mending materials. There were only two locations where a positive match could be made between torn edges, and there are likely more missing parts of the strap. Consolidation of the leather did not significantly stabilize the leather due to the severe red rot deterioration, and adding additional consolidant would have changed the appearance of the leather.
Corrosion on the iron alloy components, such as the nail heads on the shell and the strap buckle, was reduced. Penetrating oil was applied to the iron alloy to displace any water present. The iron alloy components were then degreased and coated with a protective wax.
Though it should never again be played, the drum is now stable enough to be handled and displayed.
In the after-treatment image on the right, all the components of the drum are held in their proper place by the historically accurate hemp rope replacement. With the repairs on the snare head done and the replacement batter head, the drum can sit right-side up again.
(Published February 12, 2025)
