In June of 1993, the Gondar Hanging arrived at the Textile Section of the Canadian Conservation Institute (CCI). CCI conservators were to stabilize the hanging's condition so that it could be exhibited by its owner, the Royal Ontario Museum. Measuring 5.22 in by 2.18 m, the Gondar Hanging is the largest known tablet-woven textile in the world. In tablet weaving, the warps are threaded through tablets which, when rotated, create sheds where the wefts are inserted. The technique is usually used for narrow bands. However, in this case, approximately 350 tablets were required to weave each of the three vertical panels of the hangings. Made entirely of silk, the hanging dates from the late seventeenth or early-eighteenth century and contains images related to the Ethiopian Church. These images are identical on both sides of the hanging; only the colours reverse. The fact that the hanging is reversible and that both sides had to be available for display was an important factor in the treatment.

Due to its large size, historical significance, and rarity, a team of textile conservators, scientists, art historians, and curators was assembled to participate in the treatment of the hanging. Polarized light microscopy revealed that the six colours of warp yarns were all cultivated silk (Bombyx mort) fibres. Thermal analyses recorded physical evidence of the deterioration of the silk fibres. Dye analysis identified madder (red), indigo (blue), indigo and weld (blue-green and yellow-green), unripe buckthorn berries (yellow), and a soluble redwood that was probably brazilwood (yellow-brown, formerly red). A detailed weave analysis allowed conservators to better understand the structure of the hanging and how various methods of repair would affect it.

When it was received at CCI, the hanging was very dirty and the silk fibres were weak and powdering. The loss of warps, particularly the white warps used only in the central panel, disrupted the images and exposed the underlying wefts, which subsequently had become broken and tangled. The top and bottom of the hanging were frayed and uneven, and there was a large hole near the top of one panel.

A meeting was held with textile conservators from other institutions who had experience dealing with oversized textiles to discuss treatment options. Preliminary tests had indicated that the hanging would benefit from washing. In order to perform this procedure safely, the hanging had to remain immobile and fully supported while the various wash baths were applied and removed. To achieve this, a vacuum wash table large enough to hold the hanging was designed and fabricated in situ.

Before washing, weak areas were covered with a soft synthetic net, and pH and colorimetry readings were taken. The washing procedure took 12 hours and was divided into the following steps: wetting out, first application of anionic detergent solution, rinsing, second application of anionic detergent solution, rinsing, realignment, final rinsing, blotting, and drying.

After washing, the silk yarns regained much of their original lustre, the colours were significantly more vivid, and many of the discolorations were either removed or their intensity was reduced. In addition, washing enabled the hanging to be relaxed and realigned, thereby removing creases, folds, and distortions.

The next phase of the treatment involved physically stabilizing the weak, tangled, or otherwise damaged areas of the hanging. A minimalist approach was taken so that the hanging could be made physically secure for display, transportation and storage with the least amount of interference to its structure. Both sides of the hanging were treated so that either side could be displayed. Exposed wefts were aligned and couched in place with hairsilk, and weak areas were reinforced by stitching with suitably coloured silk threads. The area surrounding the hole was stitched between two patches of silk crepeline that had been dyed with Ciba Geigy lrgalan dyes to match the underlying colour of the hanging. The patches physically stabilized the area while not obscuring either face. For display purposes, a life-size photograph of a sound area of the hanging may lie placed under the hole to visually compensate for the area of loss.

When the hanging arrived for assessment, it had four tabs: two that were stitched to the top edge with modern linen thread and two that were detached. A curatorial decision was made to remove the tabs for separate treatment because their original locations could not be determined conclusively. Mounts were designed for the tabs to facilitate their use as study pieces.

For storing, transporting, and displaying the hanging, two aluminum tubes were covered with needlefelted polyester and custom-dyed silk fabric. The hanging is stored rolled on one tube. The second tube may be used to display portions of the hanging in a scroll-like fashion on a solid support if there as insufficient space to display the entire textile flat.