dvm27

thank you for the feedback & visits
 
Main sheet setup & cockpit block finished, or possibly. I might move the forward thumb cleats on the boom a little further forward, & might redo the lashing to make it a bit shorter. 

 

Some recent Sunday fun below, a lovely shot. The sky colour is interesting, they call it a black nor-easter. It happens when the usual sea breeze is reinforced by an approaching low pressure system & you get stronger breezes & this grey effect in a clear sky. 
 
All the best for Christmas, I'm off to Tasmania (by aeroplane...)

 

Hello Rob and Mark,

Thank you very much. I'm flattered and do appreciate your kind words.  The lighting is one of my most favourite supplements in ship models and brings opportunity to see everything in the interior. I like sitting in our living room and watching illuminated ship models as if I were in the night port.
 
I use gold paint from automotive spray. I have already mentioned this earlier in my log. This is product I use:

 
 
I enjoy watching how the model looks more and more like the real Royal Katherine on Vale's painting, and it's even more impressive with the illumination. The jump into "the unknown", which I started to implement in spring of 2017, despite considerable uncertainty, is beginning to change in reality.
Here are some current pics also for your enjoyment:
 
Kind regards
 
 

In the meantime my attempts continued on the ropewalk. The following pictures show the last results. For these ropes, which have different diameters of 0.8 mm to 1.5 mm, I used linen yarn from Bockens NeL 60/2 or 120/2. I am so satisfied with the result. It is important to improve one or the other, but this will come with the further exercise and the associated experience.


Ultimately, I'm still working on the color and the conservation of the ropes and the final decision, which material should be used for the cordage of my corvette. After the ropes made of linen yarn did not look too bad in the meantime, I tend to be more interested in this material at the moment.

I'm sure they taste good after baking as well! But we digress. Back to Archjofo's thead now.

Schynlicht.

Assembly.
I haven’t installed the deck-house on its place, I still have to cut the doorways.

Hello,
 
I'm still there! This year was't one of my best. Since 20 years I have Lyme disease and the doctors always give me Antibiotics and say: you have always antibodies afterwards. Yes, if there are Borreliens left! So when this year my knees begin to make troubles, I went to a doctor in Hamburg. The short version, since June I'm eating Antibiotics of different sorts and I hope that this will work. The Borreliens now are mostly gone 😀 
 
But back to my ship. 
Because the red paint inside the ship dose not really satisfied me, I started searching for a new one. For this ship I changed the paint, from Humbrol to acrylic's from Vallejo. But also there I had to mix the red colour and the red was always dominating. So I looked for the acrylic artist paint. I had the red colour of Prince Fredericks bark in my mind and the most fitting colours are these two
 

 

 

 
Here is my test with these paints. In the upper part of the test, the paint is in two layers. To the left the Lukas, then the Schminke Paint. Both colours did't satisfied me really. Lukas was too light red and Schminke to brown. Following is the mixing of both.
 
Here a test at the ship, to the front the Lukas and then the Schminke paint. It's a great difference. 
 

 
I decided tho use 2 parts of Lukas with one part of Schminke. The result you can see below. The pictures did't show the colour really true, because of lamps, sunlight shade and so on. But I tried to show you the best result. 
 

 
The next problem did't wait. The port lids. The Bellona model ist the only model I know, where the lids have a step that fits into the steps of the port holes. But Goodwin and also Boudriot for his 74 gunner show there a step on the lids. And also not the Victory. That would mean, I have to cut the mortice for the lids deeper 🙁 
 

 
Ore are the lids cut back to the inside, so that they fit into the port holes with the step? Seen from above. 
 

 
Many thank in advance for your help.
 
I wish you a merry Christmas and a happy new year,
Siegfried
 
 

Ship builders always have a reason for everything. But could the reason for the eccentric bowsprit simply be to allow access to a central beakhead bulkhead door? In Doris's model the doors are offset so a central bowsprit heel would be possible if the bulkhead were framed differently. Curious!

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007
 

Planking is complete.
 
As you can see, I’am only partially planking the hull as per the other contemporary model, I prefer the look with the framing exposed.
Now that comes with perils of its own - just like with the QAB (Queen Anne barge) I only used the upper 3 strakes and everything is much more fragile as you have less supporting planking but if your slow and careful it’s entirely possible.
 
Hopefully I will get time over the holidays to get the frame tabs removed and get the cap rails installed but Pegasus lower deck framing is going to take modeling priority.
 
ben

hi all
time for a short update......been busy making a few fittings.
gunports are now fitted...just need to get the ropes rigged.
still lots to do but the list is getting smaller!!
 
festive greetings to one and all
 
cheers....mick

Looks great, Chuck, but I think I would unravel using it! The beauty of natural fiber is that it will stay 'laid' if spun up and hardened properly. Nice that you are getting recognition and big orders from institutions. Well done!

That is some great looking rope you have made there.  I am also someone that has been biased by tradition and try to only use natural materials for my rope.  Silk is OK but it is too shiny for me and very slippery so it tends to unravel after you make it.  In some instances it unravels quite a bit like morerope.  But I suspect you have experienced that too especially on the larger ropes.
 
I was quite surprised about 4 months ago however with the prevailing thought about only using linen or cotton for scale ropes.  I was hired by a major well known museum in Europe (I wont mention their name) to make several thousand feet of rope for them.  They were going to use it to restore a contemporary model....and also to rig a newer model.  But they told me they have now decided that polyester scale ropes are being used from this point forward because of its longevity and its crispness and beauty.  It really lays up like real rope.  They have (like all of us) been unable to find good quality linen  or even cotton that isnt fuzzy or lumpy or that requires custom dying.  The custom dying opens up a whole host of other issues for them.
 
So anyway,  they specified polyester rope made the same way I make my other rope which they have purchased many times before.   But this time they also specified the brand and color they wanted for the polyester thread I was to use.
 
It does unravel like mad.....just like morope....BUT they are aware of this and use a conservatoires glue that is used to stop fragile textiles from fraying and deteriorating on it before they cut it.  They seemed to have a whole plan set up for now accepting the use of this material.
 
Below is a photo of some of that rope I made for them.  Its beautiful and I like its appearance and handling more than the rope I sell.  I even considered switching to it for all of my rope.  But then I thought model builders wouldnt get used to how it unravels.....it really unravels if you dont glue or burn the ends.   Just thought I would share that while you are making your experiments.  There are actually two colors they specified for all running rigging.   Both are in the photo.  No fuzz and no lumps and it laid up the best I could have asked for.
 

 

Thanks for your comments, I am preparing the double rising coasts and I place them in a provisional way to adapt and divert them to the openings of the gunner, it will be a very long and difficult job, we hope for a good result. A greeting

I assembled deck. Fitting.

Looking forward to this build Albert. Hard to believe you're shelving Anson after all that work on the frames!

Looking forward to this build Albert. Hard to believe you're shelving Anson after all that work on the frames!

Looking forward to this build Albert. Hard to believe you're shelving Anson after all that work on the frames!

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007
 

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007
 

Looking forward to this build Albert. Hard to believe you're shelving Anson after all that work on the frames!

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007
 

I am continuing working on decoration.

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007
 

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment.  On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann?
 
Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk
 
Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects.
 
And, from another source:
 
Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. 
Protecting Fine Art Silk Paintings
Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. 
Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading.
Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up.
__
 
Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007