This study examines and demonstrates the value of a matrix approach in the discipline of conservation and the concerns specific to the conservation of archaeological and ethnographic objects. The chapters identify the relevance of the matrix to current conservation practices through a history of artifact conservation and a discussion of the factors that compromise the conservators' role in the study and preservation of material culture. The discussion evaluates the nature of systematic research collections, the impact of legal issues, and the ethics of including cultural context as important aspects in the development of the matrix approach. The matrix approach provides the conservator with a number of variables or categories of information that may assist in the determination of an appropriate conservation process. In this study, the matrix approach was tested on a number of artifact objects. To provide a common link, all of the objects were characterized by paint on some form of cellulose (wood or a wood-like substrate). The object cases were from both ethnographic and archaeological contexts, and the work involved both laboratory procedures and consideration of non-laboratory (i.e. legal, cultural, ethical) aspects. The specific objects included (1) a probable tiponi of archaeological (Anasazi culture) context, (2) a group of coiled baskets of archaeological (Mogollon culture) context, (3) a kachina doll of ethnographic (Hopi culture) context, (4) a group of prayer sticks of archaeological (Puebloan and Tohono O'Odham) context, and (5) a fiddle of ethnographic (Apache culture) context. By recognizing the unique and diverse aspects of anthropology collections, the conservator who uses a matrix approach is better equipped to work with archaeologists on sites, with curators and exhibit designers in museums, and with claimants (or the descendants of an object's maker) in carrying out the multiple activities frequently involved in the conservation of objects as they exist in an ever broadening and more political context.

La bio-détérioration des documents culturels compte parmi les types de détériorations les plus complexes que sont amenés à subir ces objets; et ce, parce qu’elle implique des organismes vivants ainsi que la conjonction de nombreux facteurs. Il existe différentes formes de biodétérioration; les taches de substrat (support?) engendrées par des champignons pigmentés en sont un exemple. Une multitude d’actions se développent aux “interfaces” entre le substrat (support?) et les champignons, depuis le premier contact avec les spores, en passant par la prolifération fongique, jusqu’aux interactions avec l’environnement. L’analyse multi-échelle et multisensorielle de l’interface entre les moisissures pigmentées noires et le support papier est le sujet de ces thèses. Deux types de pigmentations fongiques noires ont fait l’objet d’une analyse; la première apparaissait spontanément sur les œuvres d’art , la deuxième résultait d’une pigmentation déclenchée en biosimulation, sur des papiers connus, dans un environnement maitrisé. Les caractéristiques des papiers telles que le relief et la structure de la surface, la morphologie des champignons, les processus de dépôt de la biomasse pigmentée, ainsi que la prolifération fongique, ont fait l’objet de multiples examens, tant en termes d’instruments que de méthodes :microscopie à lumière transmise, microscopie électronique à balayage (MEB) dans une chambre à pression variable, microscopie confocale à balayage laser, profilomètre confocal à lumière blanche, microtomographie aux rayons L’objectif ultime étant de développer une stratégie de préservation des objets du patrimoine culturel bio-détériorés, le choix des instruments et des méthodes d’analyse était dicté par un souci pratique qui limitait l’échantilllonage des éléments analysés. Ce travail constitue une première tentative afin de mieux comprendre les forces en présence au niveau des “interfaces”, dans le cas des taches sur le papier dues aux champignons. / Biodeterioration of cultural materials is one of the most complex types of deteriorations that cultural materials are subjected to mainly, because it involves living organisms and synergy of many factors. There are different forms of biodeterioration, stains of substrate caused by pigmented fungi is one of them. Multitude of events occurs at interfaces between substrate and fungi, from the moment of spores’ first contact with surfaces, next fugal growth and their responses to the environment. Multiscale and multisensory analysis of interfaces between black pigmented fungi and paper substrate was the subject of these theses. Two types of black fungal pigmentations were analyzed; one that occurred on the original artworks the other one was induced in biosymulation on known papers in controlled environment. Paper characteristics, such as surface topography and structure, morphology of fungi and patterns of their pigmented bio-mass deposition as well as fungal growth were examined with an array of analytical instruments and methods: transmitted light microscopy, scanning electron microscopy in variable pressure, confocal laser scanning microscopy, white light confocal profilometer and X-ray microtomography. The ultimate goal was to develop a preservation strategy for biodeteriorated cultural heritage material; therefore the choice of the analytical methods and instruments was dictated by real-life protocols that limit sampling of cultural materials. This works is the first attempt towards a better understanding of interfacial forces in fungal stains on paper.