This summer has been brutal for most of us with weeks on end of high temperatures. The grass has gone dormant, and I am fighting an uphill battle with the gardens and outdoor container plants. What concerned me in all of this were our antique textiles. Yes, I know that they have been around for a long time and have seen plenty of hot days since they were made. Nevertheless, my concern is when the material becomes embrittled by the heat. Even natural fibers cannot withstand long periods of heat without some risk, and so I have also become more and more concerned with our coverlet collection. We are custodians of the antiques we know and love. They are ours for a period, but then will be placed to another collector in another generation. Our obligation is to take good care of them. One can argue that this preserves the value of the items, which it assuredly does; however, it also ensures that the items will be here in a hundred years. Preserving our collections is something that, in my opinion, does not require rocket science. I know a few of my museum colleagues who have spent countless hours studying temperature and relative humidity readings for their museum, being quite cognizant of any deviation from the norm. That is fine, but I also acknowledge that the items in my personal collection have come from many houses where there were no controls and that they have come down to the present just fine. My view on this matter, like life in general, is always about moderation rather than excess. Keeping a fragile antique at a temperature that avoids big swings of hot and cold is the ticket. Those big swings are what we, as humans, also tend to avoid, so the reality is that basic care of us is probably going to be the best care for our treasures. I am a bit more cognizant of light exposure. Most readers have gone to sales or visited shops where a rare print or beautiful watercolor is rendered almost invisible by exposure to direct sunlight for long periods. Conversely, I have held items that have never been exposed to light and remarked how beautiful and crisp the colors are to be seen. Light damage is one of those areas where I am critical of the modern framing industry, which confuses patrons with the notion of glass that filters out light. Yes, there are modern products that reduce the amount of UV (ultraviolet) damage, but that does not mean that a sensitive object should be put in the middle of a sun-drenched hall for a decade. Again, moderation is the key. Its great to have protective glass, but put the item between windows rather than facing it. The heat wave will not last forever (as I write this on a deliciously cool 67 degree morning), but it does remind us of our obligation to care for our antiques. Born to collect should be the motto of Peter Seiberts family. Raised in Central Pennsylvania, Seibert has been collecting and writing about antiques for more than three decades. By day, he is a museum director and has worked in Pennsylvania, Wyoming, Virginia and New Mexico. In addition, he advises and consults with auction houses throughout the Mid-Atlantic region, particularly about American furniture and decorative arts. Seiberts writings include books on photography, American fraternal societies and paintings. He and his family are restoring a 1905 arts and crafts house filled with years worth antique treasures found in shops, co-ops and at auctions.