Professional Documents
Culture Documents
Conservation is, above all, about making decisions. In conservation, ideas, knowledge and
decision-making are essential for good practice. After all, it is those decisions that have a deep
implication in the future survival of a work of art. However, to make decisions requires not only
experience but also information and time: time to imagine, time for reflection, time to find the
most appropriate solution. The problem is that at the present current pace we no longer seem to
have available that required time.
Nowadays, information and time are deeply linked. Not long ago I was discussing with a friend
about the difference between the newer and older generations of conservators. When we think
more precisely about these differences, we find that before there was more time for reflection but
limited access to information whilst today we virtually have access to any possible information
source but quite limited time for its perusal.
Bibliographic resources were once scarcer, as was also the access to scientific research. Today there
are hundreds of books published in our field every year in both conservation and conservation-
science areas. However, are we better conservators for this? Are we now able to make better decisions
that will ensure the survival of works of art for future generations?
The last decade and a half has been characterised by the boom of information technologies and the
World Wide Web. In fact, today we have access to a potentially unfathomable amount of
information like never before in the entire History of Man. Nevertheless, I believe we stay as
ignorant as ever.
Diderot once said that there would come a time “when it will be almost as difficult to learn
anything from books as from the direct study of the whole universe”. Those times can’t be very far
away anymore. Right now the problem is no longer if there is information about a certain issue, but
how to find it. Information access is a real problem, for example, the search for a technical sheet of
a product is probably as difficult as it was 20 years ago. Furthermore, I would argue about the
validity of the information sources we use nowadays but that would digress to a whole new topic.
Returning to the present, today we can hardly let a day pass without checking our email or doing
some search on the internet. However, no actual useful information is necessarily being found in
these ways. In the end we spend our time dealing with a lot of worthless information and we can
often end up making decisions based on incomplete data which may be useless out of context. Even
I usually thrive on more information, such as when I find a new website or book, however these
tend to be equally and easily forgotten as soon as I discover yet another website or book. This ends
up being like the paradox of choice: the more we have, the more confused we get. And we must
confess that indeed the access to more information does not necessarily make us better
professionals.
This is the situation of today. But I wonder, what does the future reserve for us? Will we perhaps be
more organised? Or will we just get more confused? So… wait and see.
Rui Bordalo
Editor in Chief
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You feel it’s time to update to “digital conservation”?
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INDEX
8 REVIEWS
21 ANNOUNCEMENTS
ARP PROCEEDINGS 65 The Altar Frontal of the Church of Nossa Senhora da Piedade
De Santarém
by Eva Armindo
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news & view THE APPLICATION OF MYTH IN CONTEMPORARY
ETHNOGRAPHIC CONSERVATION
by Daniel Cull
Returning from the Canadian Conserva- “We must give each other the benefit of the doubt
tion Institute’s ‘Symposium 2007’ I wrote for honesty and good intentions. Consensus is not
a review in which, quoting from the pro- the same as majority rule; it’s not a competition.
gram, I noted: We are all working together to figure out the right
thing to do”. [3]
“The symposium was organized using the
traditional circle, described by Gilbert W. Returning to the organizational consultations for
Whiteduck (Algonquin from the Kitigan the Symposium, we can observe the same logic re-
Zibi Anishinabeq First Nation) as allow- peated, participants noted that the process created
ing for 'reflection, open dialogue, and "a respectful environment [...] as well a common
consensus'.” [1] focus on the task at hand" [4], and that it was suc-
cessful "despite the diverse backgrounds, pro-
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MATCONS 2009
Matter and Materials in/for Heritage Conservation
MATCONS 2009 was an important conference or- Andras Morgos from Japan, Jana Subic Prislan
ganised in Romania in the fall of 2009, that brought from Slovenia, Leonor Loureiro, Patricia Monteiro,
together experts from different areas of the conser- Milene Gil and Irina Sandu from Portugal, etc.
vation of cultural heritage and conservation sci-
ence, both from Romanian and foreign institutions. The parallel sessions were held at the Oltenia Mu-
seum Lecture Hall on 15, 16 and 17 of September.
The arrival, registration and accommodation of the After the opening session, an interesting National
participants were done on Monday, 14th of Septem- Exhibition of Movable Cultural Heritage Restora-
ber and a welcome dinner was offered by the or- tion was inaugurated in the newly restructured
ganisers at the Park Hotel Restaurant in Craiova. building of the Museum.
The conference was structured in morning and The conference registered 125 participants, from
afternoon sessions, complemented by parallel Romania and other countries, such as Belgium,
events. Key lectures1 were given by renowned ex- Denmark, Great Britain, Italy, Austria, Portugal,
perts and specialists invited from abroad, such as Ukraine, Slovenia and Japan.
Jan Wouters and Annemnie Adriaens from Belgium, The Romanian participants came from all the re-
Luigi Campanella, Maria Perla Colombini, Piero gions of the country, being professionals from the
Baglioni, Lorena Botti and Matteo Placido from national network of the Ministry of Culture and
Italy, René Larsen from Denmark, Marianne Odlyha Cults, together with researchers and teachers per-
from England, Manfred Schreiner from Austria, forming activities related to the conservation of
1 Foreign specialists brought interesting contributions to ence"), Prof. Maria Perla Colombini ("Saving wall paintings:
the conference, such as Dr. Jan Wouters ("Philosophies, in- organic materials characterization and restoration processes"),
struments and networks aiming at a better understanding Prof. Marianne Odyhla ("Understanding microclimates in
and conservation of cultural heritage"), Prof. René Larsen museums and their impact on heritage materials"), Prof.
("The IDAP Assessment Programme: Recent development Manfred Schreiner ("Non-destructive analysis for artifacts
and examples of its use in practice"), Dr. Annemie Adriaens of parchment and paper"), Dr. Laura Botti et al. ("Photogra-
("The use of carboxylate coatings on lead as environmentally phic printing processes: studies and analysis"), Dr. Patricia
safe corrosion inhibition"), Prof. Piero Baglioni ("Conservation Monteiro ("Portuguese treatises and their relevance to mural
of cultural heritage: there is plenty of room for colloid sci- paintings"), etc.
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Romanian cultural heritage. Besides the personnel Dr. Elena Badea and Prof. Giuseppe della Gatta form
from the Museum of Oltenia in Craiova, that brought the University of Turin (Italy) gave an interesting
a fundamental contribution to the organization lecture on the physical chemistry for preservation
of the conference, many specialists participated and conservation of historical parchments, speak-
from museums all around the country. ing of the use of differential scanning calorimetry
Romanian research institutions and universities (DSC), nuclear magnetic resonance (NMR), IR, UV-
were also represented, such as the National Re- Vis spectroscopies, environmental scanning elec-
search Institute for Conservation and Restoration tron microscopy (ESEM) and atomic force micro-
(INCCR), the National Research and Development copy (AFM) for the investigation of damages in
Institute (ICPE-CA), the National Research and archival parchments from the State archives of
Development Institute of Leather and Textile - ICPI Turin, State Archives of Genova, State Archives
Division in Bucharest and the Art and Design Uni- of Florence, Historical Archives of Turin and Na-
versity in Cluj Napoca. tional Archives of Stirling.
The first session of lectures was introduced by Dr. Prof. Manfred Schreiner presented a transportable
Virgil Nitulescu, President of ICOM-Romania. His X-ray fluorescence (XRF) analyzer developed and
intervention focused on the actual situation of cul- assembled at the Academy of Fine Arts in Vienna
tural heritage in Romania and on the educational in order to allow in situ examination of works of
system established for training conservators-re- art in museums, libraries and in archaeological
storers and conservation scientists. In this respect, excavation sites. Few case studies in which this
the first invited speaker, Dr. Jan Wouters, re-cre- instrument was applied were also reported.
ated a panoramic view on the research in Europe
in the field of heritage science and on the utility Prof. Alessandro Vitale-Brovarone made a very in-
of conservation science for a better understanding teresting intervention about the history of the
and conservation of the cultural heritage. Turin’s university library and the attempt to re-
store parchments that were fire-damaged in 1904
Prof. Marianne Odlyha from Birkbeck College pre- during a project started at the end of the ‘90s and
sented the results reported from several European ended in 2004.
Commission projects: “Improved Damage Assess-
ment of Parchment” (IDAP), “Monitoring of Dam- Prof. Piero Baglioni underlined the importance and
age of Historic Tapestries” (MODHT), “Improved the role of Colloid Science in the conservation of
Protection of Paintings during Exhibition, Storage cultural heritage, exemplifying with few case studies
and Transit” (PROPAINT) and “Sensor System to this kind of applications: nano-magnetic sponges
Detect Harmful Environments for Pipe Organs” and oil-in-water nano-containers for cleaning of
(SENSORGAN). works of art, nano-particles for wood and mural
paintings conservation, nano-technologies for
Prof. René Larsen illustrated some projects on the paper and canvas deacidification, etc.
damage assessment of parchment in which a metho-
dology for assessing the phenomena of physical Prof. Maria Perla Colombini gave a very interesting
deterioration and chemical degradation of parch- lecture about the use of chromatographic mass
ment and leather fibers at microscopic level was spectrometric techniques (HPLC/MS, GC/MS, Py-
applied. GC/MS, DEMS) for organic materials characteriza-
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Monuments visited during the conference trip: Curtea de Arges, Monastery, early 16th century (left) and Prejmer medieval
fortified church, 13th - 14th century (right).
tion in wall paintings and for a better choice of the specialists in conservation of archives and library
intervention system. The conservation project of materials. The organizers of this workshop were
the wall paintings in “Camposanto monumentale” the University of Turin (Prof. Giuseppe della Gatta),
of Pisa (Italy) was presented on this occasion. the School of Conservation of the Royal Academy
of Fine Arts in Copenhagen (Dr. René Larsen) and
Patricia Monteiro from the Faculty of Arts and Lit- the National Research and Development Institute
erature, University of Lisbon, spoke about the Por- for Textile and Leather in Bucharest (Dr. Luminita
tuguese treatises and their relevance to mural Albu). The workshop had the objective to provide
painting materials and techniques, considering and update the picture of the chemical and physical
also the difficulty in interpreting the information nature of parchment as well as its ageing and de-
they contain. terioration processes caused by the environment.
Among the Romanian lecturers a special mention On 16 of September a final round table on the
should be done for Dr. Nicoleta Zagura, UNESCO topic “Programs of research and training in the
expert, who spoke about the efforts done in Roma- field of conservation and restoration of cultural
nia through the cultural association she founded heritage” was organized at the University House
- Art and Heritage UNESCO Club - to increase the in Craiova, and coordinated by Prof. Radu Constan-
interest and education about the local and inter- tinescu from Romania and Prof. Giuseppe della
nationally recognized heritage, and for Dr. Ioan Gatta from Italy. The participants discussed the
Opris, eminent art historian, who has drawn the topics of interest for a potential network to be
attention to the emergency strategy to be adopted established at European level and about funding
for the preservation of the cultural heritage of opportunities in Romania and abroad.
Modern Romania.
Poster session were also organized between the
An interesting workshop on “Conservation and main sessions, giving place to debates, exchange
restoration of historical parchment and leather” of opinions and contact among the participants.
was organized in the evenings of 15th and 16th,
the participation being open to a certain number The next three days were dedicated to visiting
of conference participants and to the Romanian places with cultural and historical significance
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from Romania, in a trip meant to illustrate the Last but not least we should mention the precious
richness of the Romanian natural and cultural contribution given by the local organizing com-
heritage in Transylvania region. mittee, formed by personnel from the Museum
of Oltenia in Craiova (Tutu Barbulescu, Simona-
After the closing of the conference, a short visit Violeta Gheorghe, Rodica Florentina Opritescu,
at the Monastery Curtea de Arges, famous historic Alina Maria Garau, Anisoara Vatuiu, Leonard Io-
monument part of the Romanian built heritage nescu, Cristina Stamate) whose dedication and
took place, and a traditional lunch in a Pilgrims’ hard work assured a fluent development of all the
guest house near the monastery was offered in activities during the conference and the success
the afternoon of 17 of September. Afterwards, a of the wonderful trip to the important monuments
short visit was paid to the Ethnographic Museum in in the Transylvanian Mountains, an emblematic
Campulung Muscel and in the evening the parti- region for the culture and history of Romania.
cipants were housed at the Panicel guest house
near Rasnov city, in the green heart of the Transyl- IRINA CRINA ANCA SANDU
vanian Mountains. Contact: irina.sandu@dq.fct.unl.pt
The day of 18 of September was dedicated to other Irina Sandu (PhD) is an Assistant Researcher at the
visits to important monuments, such as the forti- Faculty of Science and Technology (FCT) of the New
fied church of Prejmer, Rasnov Fortress, Bran Castle University (UNL) in Lisbon, where she develops
and other museums and churches in Brasov county. research for the Conservation and Restoration of
The last day, the morning of 19 of September, was Cultural Heritage. She is the author / co-author of
dedicated to the visit to Peles and Pelisor Palaces 12 monographs on conservation and more than 45
in Sinaia, former residences of the Royal family of published papers, and was involved in 20 interna-
Romania. tional research projects and scientific collaborations.
Participants to the conference hiking the hill to Rasnov fortress (13th - 14th century). Photo by Nicoleta Zagura.
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www.prorestauro.com
REVIEWS
Between 5 and 9 May 2009 a new COST-sponsored problems, practices and possible solutions. A two-
training course took place in Vienna, within the way approach to understanding these issues was
frame of the COST Action D42 "EnviArt: Chemical adopted: on a theoretical level, analytical methods
Interactions between Cultural Artefacts and In- and preventive conservation strategies were dis-
door Environment". The workshop was organized cussed, and on a practical level, measurements of
by Dr. Erwin Rosenberg from the Vienna University indoor air quality of museums or archives were
of Technology, Institute of Chemical Technologies undertaken.
and Analytics, in collaboration with the Kunst-
historisches Museum, the Technisches Museum The programme was even more diverse, including
and the Academy of Fine Arts Vienna. visits to national and private museums and to la-
boratories and companies that provide services of
The scope of this Training School was to address conservation, exhibit or transport of art objects.
significant aspects of indoor air quality in relation The lectures proved to be extremely informative,
to art objects exhibited or stored in museums, gal- speakers coming from various fields related to
leries and archives. The workshop gathered par- conservation of cultural heritage.
ticipants from diverse backgrounds and training,
from both the academic and the conservation field, Rene van Grieken, from Belgium, in his lecture
such as conservator-restorers, scientists, curators, “Ashes to ashes, dust to dust: the fate of all things?
chemists, physicists or biologists working in muse- On indoor air pollution through particles” spoke
ums, collections or archives. The workshop brought about climate, humidity, temperature, light, air
together a total of 42 speakers and participants pollutants and gases from archives with a particu-
who came mostly from European countries but lar emphasis on how important preventive conser-
also from the USA. vation is, namely by improving the environmental
conditions (microclimate and chemical pollution)
The training course was planned in such a way as around the work of art. On the same line, discus-
to include both theoretical lectures and practical sions were continued by Dr. Dario Camuffo from
laboratory work, combined with site visits to some Italy, who focused on the general interaction be-
Viennese museums in order to demonstrate actual tween environmental factors and works of art,
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especially moisture, and the interaction of water Helene Tello, from the Ethnological Museum, Na-
molecules with the environment. tional Museums Berlin, brought another issue in-
to discussion, namely which are the best strategies
Prof. Dr. Manfred Schreiner spoke about corrosion and analytical methods to adopt for the use of bio-
of glass and enamel artefacts and the influence cides in ethnographic collections: the organic or
that air quality has on this process. He focused on the inorganic ones. She discussed their impact on
conservation problems and preventive conserva- collections and the arguments pro and against the
tion strategies of medieval stained glass, present- non-destructive analytical methods and available
ing six glass weathering theories. technology. It was also underlined that attention
must be directed to the impact biocides have on
It appears that many museums around the world collection objects, but mostly on the human health.
have similar problems related with indoor emis-
sions, building materials, particle filtration or From Norway, Terje Grøntoft presented "Simple
ventilation. For example, at the Metropolitan Mu- devices for monitoring and assessment of indoor air
seum of Art particles of Sodium Nitrate (NaNO3) quality for museums, archives, and historic build-
have been detected in galleries, showcases and ings" and did a demonstration of use of EWO do-
storerooms. Among the many actual problems re- simeters and monitoring concepts, dividing them
lated with air quality in museums and galleries, into Continuous Monitoring (C), Online Monitoring
particles interaction is the least studied. However, (O), Active Measurements (A) and Passive Meas-
even when the answer to such problems is not al- urements (P). Next, the theoretical concepts were
ways easy to find, one possible solution would be put into practice, participants being given the
a better air filtering. opportunity to test the equipment and learn how
to interpret the results.
Group photo of TS participants at Artex company, Vienna. Photo by Valentina Ljubic from the Technisches Museum Wien.
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A similar aspect was also addressed by Marianne Another interesting visit was made to the private
Odlyha and C.Theodorakopoulos from Birkbeck company Artex Art Services from Vienna, where
College in London, UK, with a focus on the impact their current practice and modern technology to
of indoor environments corrosivity on complex ensure optimal indoor air conditions for storage
organic materials. and transport of art objects was demonstrated.
Several practical examples were offered from the Other visits with practical applications were or-
condition survey projects in museums from Nor- ganized at the Michaelergruft, the Technisches
way, from the National Archives of Finland (István Museum Wien and the Naturhistorisches Museum
Kecskemeti, PhD), the State Archives of Genoa and Wien (NHM, Natural History Museum). This last,
Turin (Marianne Odlyha, PhD), the Technisches Mu- founded in 1858 at the behest of Emperor Franz
seum Wien (Ing. Anita Preisler), or from churches Joseph I, possesses very valuable showcases that
(the Sistine Chapel in Rome and Santa Corona in represent by themselves a quality of the museum.
Vicenza). The necessity of preserving these original show-
cases dating from the 19th century was discussed,
On the protection of metal objects in storage, Mar- but also the methods of conserving the objects
tina Griesser-Stermscheg from the University of and organic materials therein. These issues were
Applied Arts Vienna presented the conclusions of
an experiment where several objects were kept in
Historic showcases at Naturhistorisches Museum Wien
oxygen free packages and in packages with oxy-
(Natural History Museum).
gen, and were compared with unpacked objects.
After 5 years, the research showed that the oxy-
gen-free packing is not recommended for metal
objects, while packing with oxygen offers a good
protection against oxidation and corrosion for
objects of silver, gilded silver, copper, lead and
steel. This application was put into practice at the
research laboratories of University of Applied Arts
Vienna in cooperation with the Scientific Labora-
tory of the Kunsthistorisches Museum.
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presented by Silvia Kalabis and Hans Reschreiter connected to physical, chemical and biological
in the paper "The adaptation of the historical show- processes.
cases in the prehistoric collection of the NHM".
The Training Course was ended by a visit to the
The visit to the Michaelergruft focused on the tombs first villa of Austrian Art Noveau architect Otto
located in the basement, and aimed to discuss the Wagner that was restored in early 1970s by the
conservation methods of the coffins in their environ- renowned painter Ernst Fuchs. The artist saved it
ment by reducing the humidity and temperature to from being demolished and inaugurated in 1988
order to prevent the development of molds and the the “Ernst Fuchs private museum” that gathers a
degradation of the wood, the constituent material large collection of his works.
of the coffin. Dr. Alexandra Rainer, scientific ad-
visor of the Michaelgruft, spoke about the historic, After this 5-day workshop, we can conclude that
restorative and technological aspects of this case. it is for us all to assume responsibility for the pro-
tection of both the environment and the cultural
Peter Brimblecombe from the Univerity of East heritage. Although there are many conservation-
Anglia showed in his presentation "Air chemistry scientists, few turn their attention to pollutants,
and exchange with rooms and cases in a changing a process that acts both from the outside and the
climate" that in general, visitors are one of the inside. Situations may differ from one geographic
reasons for the presence of dust in galleries and region to another, but collaboration among spe-
of the increased level of temperature and humidity. cialists in various fields can help to better under-
In order to minimize the impact on the collections, stand the degradation causes, mechanisms and
the visitors should keep away from objects that effects that objects in collections are subjected to.
are not protected by showcases, limiting the ex- Last but not least, as Dr. Erwin Rosenberg noted,
posure to pollutants. At the same time, he spoke our “methods, devices and materials need to be
about a new challenge in terms of climate change, developed or further improved”. Therefore, we need
and about what damages can occur if global tem- to employ the best preservation strategies and
peratures increase and if summers become signi- conservation management methods that will help
ficantly drier. He showed that degradation is strictly us find adequate solutions for each individual case.
Outer view of Otto Wagner's villa, now housing the Ernst Fuchs Museum (left) and one of the rooms in the museum, with paintings
by the artist and the original Art Noveau stained glass windows. Photos by Erwin Rosenberg from the Vienna University of Technology.
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TS participants having an interesting discussion with Dr. Calea Victoriei, nr.12, S 3, 030026,
Alexandra Rainer in the courtyard of the Michaelerchurch. Bucharest, Romania
Photo by Valentina Ljubic of the Technisches Museum Wien.
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Each year, the show is focused on a new theme in- The participants were gathered under the same
volving thus new exhibitors and visitors, new media goals in order to promote quality craftsmanship
and promotional input. This year’s topic was “The and expertise, to set up and develop meetings
Heritage of Religions”. between conservators, craftsmen or artists and
potential clients, and to present the various stra-
Embracing the topic, the exhibitors displayed their tegies regarding the spiritual and cultural heritage
achievements in this area and offered their know- preservation and management.
how demonstrations to the visitors. Beside con-
servator-restorers, artists or craftsmen, the salon To have a real perception of the complexity of the
also hosted: suppliers of materials and products for salon, only the fields covered by exhibitors display-
movable or immovable assets or museum materials ing a conservation-restoration activity, were vary-
ing from stained-glass windows, iron joinery, or-
gans, old clock and bell mechanisms to ceramic
1 Atelier d’Art de France is a French trade organization for and glass objects, furniture, textiles, leather, sculp-
Crafts. Founded in 1868, it unites today 2,800 craft ture, frames, wall paintings and decorations and
workers – whether they are craftsmen, artists or craft
workshops – to lend them support and assistance towards easel paintings. Almost anything one can connect
their promotion and development. with Religious Heritage in general!
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For the orientation of the public throughout the presenting samples of their work in stands resem-
salon spaces, depending on interest and also to bling corners of studios. It was a very interesting set
ease the contacts exchange, the organizers pro- up of workshops and objects animated by artists
vided a useful catalog with the participants’ pro- or restorers ready to introduce you to their work
file and contact details. or to answer your questions.
Visitors were able to see component fragments
Walking into the fair, the visitors were first received of organ-pipes or even big brass bells, beautiful
by informational stands of institutions, associations trompe l’oeil of marble and wood patterns, mosaic
or local authorities showing their past or current and frescoes fragments, religious furniture, jewels
projects throughout images, movies or short pre- and so on, done with extraordinary craftsmanship.
sentations on this year’s theme. That was the per-
fect place for visitors or participants to make con- The religious heritage preservation is, actually, the
tacts for future partnerships in all kind of cultural best example where knowledge of old traditional
related areas, or to get updated with the new stra- techniques is very important for best conservation
tegies of cultural interest. and restoration achievements. Therefore, this mix-
ture of arts, old crafts and restoration presented at
Further on, the visitors were arriving in the sec- the fair was a good opportunity for meeting mas-
tion dedicated to publishers on art and culture, ters who keep the tradition alive and are willing to
from printed magazines and online publications share details of their work with those interested.
to specialized bookshops.
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Another interesting aspect of the event was the with the fair’s subject – the Religious Heritage.
organization of discussion panels and seminars The next edition, the 16th International Heritage
with the participation of international experts and Show, is already announced for 4-7 November
specialists who informed the fair-going public 2010, focusing this time on “The Mediterranean
about topical subjects related to the theme of the Heritage”. I'm certain that it is definitely worth
year, and debated heritage problems.The issues visiting it.
brought into discussion covered a wide thematic
range such as: causes and consequences of the
religious heritage destruction and degradation in ANCA NICOLAESCU
history; the future of Europe’s religious heritage; Conservator-Restorer
religious patrimony and contemporary art or sub-
jects regarding the advanced technologies in her- Contact: anca.nicolaescu@e-conservationline.com
itage conservation, to mention only few of them.
Anca Nicolaescu (BA, MA) is a conservator of wall
It is difficult to encompass in a short review the paintings, having coordinated various on-site
complexity of this event with an immense area of conservation projects from Romania. Her work
interest and exhibitors. For five days I constantly experience also includes international participa-
went to Louvre’s Carrousel, willing to see and dis- tion at conservation projects and seminars in UK,
cuss with as many exhibitors as possible, but at Turkey, Uzbekistan, Japan and India. She is one
the end I still had the feeling that I might have of the co-founders of Restauro Art Grup conser-
overlooked some stands. It was a huge concentra- vation company and of e-conservation magazine,
tion of interesting aspects of everything connected where she presently works as an editor.
20 e-conser vation
NEWS
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NEWS
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NEWS
e-conser vation 23
Are you reading this?
So is everybody else...
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please contact
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event
The events in this section are linked to the
IRUG9: 9th Biennial Conference of the
original homepage of the organisers or to the
Infrared and Raman Users Group
calendar of events at www.conservationevents.com.
Click on "Read more..." to find out more details Date: 3-6 March Read more...
about each event. Place: Buenos Aires, Argentina
International Symposium on tunity for the exchange of scientific results and new
the future of Museum Climate developments in the application of infrared and Raman
March 2010
e-conser vation
EVENTS
March 2010
Date: 12 March Read more... Interim Meeting of Five ICOM-CC Working Groups
Place: Vancouver, Canada
Date: 23-26 March Read more...
Inspired by UNESCO's Memory of the World Program, the Place: Rome, Italy
Association of Canadian Archivists UBC Student Chapter
(ACA@UBC) is organizing a seminar and conference aimed The meeting will consist in three days of presentations.
to opening an interdisciplinary dialogue among the custo- Sessions will be dedicated to the main theme of the event
dians of the world documentary heritage - librarians, that highlights specific projects focussing on interdiscipli-
archivists, documentalists and museum curators - and nary approaches, historical and methodological aspects,
the users of such heritage. environmental issues, conservation techniques, and guide-
lines for preventive conservation and maintenance. Each
working group will also have the opportunity to present and
28th Annual Visual Resources
Association Conference discuss contributions and on-going research programmes
related to its specific area of interest.
Date: 17-20 March Read more...
Place: Atlanta, USA
Course: Working with Plastics
General areas of this conference interest include, but are Date: 23-25 March Read more...
not limited to: digital photography; digital imaging and Place: Porto, Portugal
presentation technologies; strategic planning; cataloging
and metadata (including non-western, non-art, and spe- Instructors: Thea van Oosten and Anna Laganà
cial topics cataloging); trend forecasting for the visual The main subject of this course is to acquaint you with
resources profession; copyright and fair use; user instruc- the current state of knowledge regarding identification,
tion; and professional status issues. degradation and conservation of plastics as used in
cultural heritage.
Date: 20-21 March Read more... The conference aims to advance and share knowledge
Place: Cambridge, Massachusetts, USA about conservation issues in and beyond Icon's members
and to have an enjoyable conference where people have
The 2 days intensive conference will focus on developments time to talk and network. The first day will focus on the
in architectural glasses for structural, energy saving, and two themes 'evidence based decision making in conser-
decorative uses in new building facades/building envelopes vation' and 'a sustainable future for UK conservation'.
and monuments, as well as their application in the resto- The second day will provide the opportunity for the Icon
ration and upgrading of existing structures. groups to host specialist half day seminars.
26 e-conser vation
article
AREAS OF PUBLISHING
Conservation Treatment
Mural Painting
Painting
Stone
Sculpture
Textiles
Paper / Documents
Photography
Metals
Tile / Ceramic / Glass
Furniture
Music instruments
Ethnographic assets
Archeological objects
Conservation Science
Scientific research
Material studies and characterisation
Analytical techniques
Technology development
Biodeterioration
State-of-the-art
Reviews
Preventive Conservation
Theoretic principles
Art History, Iconography, Case studies
Iconology, Chemistry, Physics,
Biology, Photography, Cultural Documentation in Conservation
Management, Museology, Standardisation
Computer Science, Legislation Documentation methods
and Juridical Processes, Data management
Conservation Policies
and any other field applied to Conservation Theory
Conservation and Restoration Ethics
of works of art. Conservation History
e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD:
A CONSERVATION AND SCIENTIFIC DISASTER
by William Meacham
THE “RESTORATION” OF THE TURIN SHROUD
In 2002 the Shroud of Turin was subjected to a radical intervention aimed at ridding the relic of carbon
dust and charred material said to pose a serious threat to the image. Patches that were applied in 1534
to cover holes from fire damage were removed. Vacuuming was done of portions of both sides, and
other remedial measures were taken to optimise the appearance of the relic. This aggressive operation
was in stark contrast with modern precepts of conservation, and resulted in important scientific data
and heritage features being lost, along with great opportunities for sophisticated testing and
sampling. The long-term negative impact of the intervention is feared to be substantial; the underlying
premise, that the image was threatened, has been shown to be false.
Introduction
Whether ancient or medieval, the Shroud of Turin Figure 1. The Shroud image. The frontal image on the Shroud
as first photographed in 1898. All rights reserved.
poses one of the truly abiding mysteries of all ar-
chaeological and art historical artefacts. It is the
world’s most famous textile, and probably also the
most intensively studied object in existence, but
how the image was formed on the cloth remains
unclear. Crucial evidence however may have been
destroyed in a “restoration” conducted in the sum-
mer of 2002. Unlike the restoration of the Sistine
Chapel, over which there were sharply opposing
views on the composition of the original work, the
Shroud as an historical textile was well defined
and the parameters of its on-going study quite
clear. This unfortunate event dramatically illus-
trates the need for close collaboration between
scientists, conservators/restorers and curators/
owners before initiating aggressive interventions
on important archaeological objects. It may also
become a classic illustration of things that should
not be done.
How It Happened
e-conser vation 29
WILLIAM MEACHAM
30 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
A new archbishop of Turin was appointed in 1999. seem to bother anyone else. A tripod-mounted
Cardinal Severino Poletto is an outgoing and af- camera and fast film would have given perfectly
fable man, with mediocre educational background. good photographs without the use of a flash, and
I first met him at a “conference of world experts” would have spared the cloth that extra unneces-
sponsored by the Turin archdiocese in March, sary exposure to light.
2000, at a villa outside the city. I came away with
the strong feeling that Poletto was dynamic and Worse was to come. A delegate was energetically
we would soon see further testing of the cloth, pointing out some feature on the Shroud to Poletto,
particularly a second round of carbon dating. and they both stepped over the cordon to get a
Never in a million years could I or anyone else closer view. The delegate suddenly pulled out his
involved with the Shroud have imagined what ballpoint pen and pointed at the feature. The tip
was to come. of the pen was less than an inch away from the
surface of the cloth. Aghast, I started to intervene,
The truly memorable moment during this confer- when he lowered the pen. Several other people
ence was a visit to the Turin Cathedral. Poletto met were watching the proceedings, and no one seemed
us in the nave and ushered us into a sideroom. It bothered by the fact that a possible ink stain had
was a heart-stopping moment. There, mounted been a slight tremble away. When it is recalled that
on a long board at eye level was the famous relic, many archives do not even allow ink pens of any
free of its usual glass display case, and naturally kind to be brought inside, one can only shudder
lit from windows high up in the room. A red velvet at how poor the state of conservation awareness
cordon about three feet away was all that separated was in Turin.
us from the relic. My attention shifted back and
forth between the bloodstains and the fainter body Yet another conservation issue was raised by Amer-
image, as archaeological and historical curiosity ican scientist John Jackson after the visit. He had
about this intriguing object intermingled with a particular interest in the old creases and “fold-
feelings of awe. mark patterns” (as he calls them) preserved on
the Shroud, and he was very upset over how the
This contemplation was interrupted after a while cloth was stretched on the board. It was so taut
when Poletto and a gaggle of people around him that hardly any of the creases could be seen. He
moved up to the cordon. Suddenly, a flash bulb raised the issue at the final plenary session of
went off and I turned around to see a fellow in a the congress, saying: “I can state that storing
baggy suit holding an old-fashioned press camera the Shroud in this condition for a long period of
with large flash attachment. Horrified, I went over time will destroy forever the precious fold mark
to Prof. Alan Adler, the only American member of pattern, if it has not already done so”. The response
the Conservation Commission, and asked him how from Commission members was that the mounting
in the world they could be using flash photography. on the board was only a temporary arrangement.
He shrugged his shoulders, saying it was the of- This apparently was not true. In an article published
ficial archdiocese photographer. I asked him to later by the same individuals it was stated that,
try to stop it, but he replied there was no way he unlike in the past “the Shroud was [now] stretched
was going to interfere, as this viewing was very and fixed in a practically definitive position” [2].
special. It was surprising that this simple issue In retrospect, these conservation issues were very
had not been considered beforehand and did not bad omens.
e-conser vation 31
WILLIAM MEACHAM
“The Shroud has been restored” that information is are people who have spent
years, if not their lifetimes, thinking about the
Indeed, a major catastrophe was about to befall Shroud in a scientific sense”. It was increasingly
the Shroud. Totally unbeknownst to anyone out- clear that there had been no outside consultation
side a small circle in Turin, an aggressive, invasive or peer review of this intervention. An American
operation officially termed a “restoration” was textile chemist and original member of the Conser-
being planned. The work was finally carried out vation Commission, Jan Cardamone, was surprised
in secret during June and July of 2002. But word and shocked at the news. Textile conservator Sheila
leaked out, and in August a Rome newspaper ran Landi of England, also an original member of the
a story by its Vatican reporter that the Shroud had Commission, had the same reaction. Even two tex-
undergone a radical intervention [3]. As details tile specialists resident in Turin and well acquainted
emerged from the Turin archdiocese, it was con- with the Shroud were not consulted.
firmed that patches covering the 1532 fire damage
and a backing cloth added at that time had been It transpired that the one textile expert left on the
removed, and “dusts and residues” had been cleared Commission was the person who had carried out
away. People were shocked, unable to believe that the work. Rumor had it that she and Ghiberti had
such an invasive procedure could have been allowed become the dominant force within the Commission.
to take place, since there had been so much em- According to Landi, who attended several meet-
phasis in recent decades on the need for non-in- ings in the 1990s, the atmosphere was character-
trusive, non-destructive testing. ized increasingly by manipulation: “All they wanted
was people who said what they wanted to hear”
While very little of this news was carried by inter- [5]. This led to Landi's decision to withdraw in
national agencies, the press in Italy was buzzing 1997. Jan Cardamone remained available but was
with stories, speculation and debate about what not invited to attend further meetings. It is not
had been done to the Shroud. A very senior politi- clear what happened to the two Italian textile
cal and academic figure, Francesco Sisinni, wrote conservators, but by 1999 the Swiss Mechthild
an important piece asking: “Did this important Flury-Lemberg was the only textile expert left in
object, on whose material and historical authen- the group. This may have been as in the Chinese
ticity scholars from every part of the world have saying, “one mountain can only have one tiger”.
worked tirelessly, and, above all, in front of which Other individuals with close links to the inner cir-
millions of faithful from all over the world have cle around Poletto were recruited onto the Com-
kneeled, really need to have undergone such a mission, from fields totally unrelated to textiles
massive intervention?” [4]. Turin was clearly on or conservation.
the defensive, and announced that all would be
explained at a press conference in mid-September, Flury-Lemberg is a soft spoken woman, and an old-
at which time photographs of the “restored” Shroud style restorer with a Teutonic inclination for neat-
would be available. ness. It is unclear to what degree she persuaded
others of the need for “restoration,” but one ob-
Jackson circulated an email with very powerful server remarked that it was a good thing that there
criticisms, pointing out that “it is essential that was no articulate dry cleaner on the Commission.
scientific information resident on the Shroud be She believed in her methods, of course, and a large
preserved. The only people qualified to know what portion of responsibility lies with the other mem-
32 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
Figure 3. Madame Flury-Lemberg at work on the “restoration” of the Shroud (photo courtesy of Telesubalpina TV, all rights reserved).
bers of the Commission and those in the Vatican and necessary thing. Some conservators have said
who did not seek any outside advice. that “dirt is not the problem, cleaning is the prob-
lem”. Often it is not even attempted. Another re-
Poletto was clearly disturbed by the raging con- mark by Savarino was equally shocking. He said
troversy, and invited the delegates from the 2000 that an effort was made to smooth out the creases,
Turin conference for a private viewing of the “re- but “unfortunately it was not entirely successful”.
stored Shroud”, followed by a press conference the I repeated his Italian word purtroppo (unfortunately)
next day. Both events followed the same script: out loud with the inflection of a question, and
opening remarks by Poletto and Ghiberti preceded he nodded. He apparently was unaware of their
the main presentation by the scientific adviser, possible historical value.
Prof. Savarino. His case was most unconvincing,
especially his casual summation: “The Shroud was The “restoration” of the Shroud was diametrically
filthy. I certainly wouldn't sleep in a sheet in that opposed to modern textile conservation practices,
condition”. At this there was a smattering of nervous as for example described by Orlofsky and Trupin
laughter, but most did not know whether to laugh [6]. The cloth was handled every day for a month
or cry. To the layman, and obviously to the aggres- without gloves; no gowns, lab coats or hair nets
sive restorer as well, cleaning must seem a good were worn; no clean room controls were instituted;
e-conser vation 33
WILLIAM MEACHAM
visitors, photographers, teams of technicians and The argument has been made before that even with
TV crews trooped through; the cloth was illumi- a backing cloth on the Shroud it was hazardous to
nated by lamps without filters, shining for long mount the relic in a vertical position for display.
periods directly on the cloth at close range; the As the Shroud is now stored laid out flat in a glass
relic was subjected to considerable stresses in the case, this would also be the best manner to ex-
removal of patches and backing cloth, and addition hibit it according to Cardamone, i.e. with observers
of a new backing cloth. Furthermore, the operation moving around it in small groups, or on a walkway
was not a true restoration back to original either, above it. To remove the existing backing cloth only
but a series of radical, invasive alterations and to replace it with another seems to be the height
cleaning operations for cosmetic and misinformed of folly, and no real advance on the repair work
conservation purposes. of 1534. Further, the whiteness of this new lining
detracts from the image. The eye is struck by the
Even if the cloth were a proven medieval relic, with stark contrast of white spots (lining visible through
no image at all, the 1534 repairs should have been the holes) on straw coloured ground (the Shroud)
retained. Flury-Lemberg commented on this issue that makes the sepia body image seem even more
in very strange terms: “The conservation [work] of faint. To compare the Shroud before and after, see
the poor Clare sisters from 1534 is certainly of his- www.shroud.com/examine.htm.
torical interest and therefore needs to be analysed
and noted for future research, but it does not present In the months following the unveiling, a consensus
a value in its own right. The same is true for the con- of critique took shape. The main points were:
servation measures of 2002”. [7] 1) that the patches had been piously sewn on 450
years ago (according to legend the nuns who sewed
It is very surprising to have repairs nearly five hun- them used golden needles and maintained constant
dred years old equated with those done a few years prayer during the work) and thus constituted part
ago. The patches and backing cloth were visible of the Shroud's heritage;
elements of a rich heritage that had intrinsic value 2) that scientific data had been lost due to poor
as part of the history and commonly recognized planning and/or ignorance;
identity of the relic. It was recorded that the nuns 3) that opportunities for sophisticated scientific
carried out the mending of the precious relic after research were squandered; and
the fire of 1532 with great reverence and care, 4) that great stresses were put on the cloth during
praying as they worked. Old additions to or repairs the month-long handling, unstitching and re-
of an object become part of the object to be pre- stitching, and exposure to lights.
served unless 1) they pose a definite threat to it,
or 2) they seriously detract from the appreciation In 2003, comments from prominent Shroud re-
of the original. There would be little disagreement searchers began to be posted on www.shroud.com/
among conservators on this point. It would be a restored.htm, and most were scathing. Ray Rogers,
very foolish conservator who would erase medieval a nationally prominent chemist formerly with Los
graffiti from a Roman temple in the name of return Alamos National Laboratory, declared “as a result
to the original. Even on cosmetic criteria, reten- of the restoration... a large amount of potentially
tion of the patches would have been sensible; Flury- critical information has been lost forever”. Paul
Lemberg herself wrote that the patches covered Maloney, archaeologist, stated his virtual certainty
“big ugly holes left by the fire”. [7] that the restoration was unnecessary. Dr. Frederick
34 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
Figure 4. Vacuuming. Vacuuming of dirt and carbon dust. (photo courtesy of Telesubalpina TV, all rights reserved).
e-conser vation 35
WILLIAM MEACHAM
plain to him why it is not simply retaining every that could have been identified and extracted by
particle of debris and dust that is important, but micromanipulator with precise provenance were
it is above all the structure of the evidence that instead aspirated into the container along with
must not be lost, and that the manner in which all the other debris from that general area.
samples are collected is vital. It would be useless
for example to present an archaeologist with all the Worse still is the destruction of the charred edges
objects from a site in a giant bag, with all stratigra- of the burn holes. Here the structure of evidence
phic and contextual information lost. During this is crucial, and it was deliberately reduced to fluff.
“restoration” of the Shroud we are told that the The Commission was said to have decided that no
debris and dust was collected and saved “in more cutting would take place, and this would have
than 30 glass containers”. This makes it clear that moderated somewhat the loss of data if that de-
a tremendous amount of information has been lost, cision had been strictly adhered to, and only loose
since all 25 burn holes under the patches plus the particles were aspirated away. It was thus shock-
four sets of “poker holes” were scraped and vacu- ing to discover that intact segments between small
umed, front and back. There should have been se- holes or around the edges of larger holes had gone.
veral hundred divisions of this material for rigor- Ghiberti wrote: “Cutting away the charred parts to
ous study. get back to the undamaged cloth would have pro-
duced an unnatural and devastating effect. It was
To cite an example, pollen from the Middle East decided to use tweezers to remove material which
has been identified from the Shroud, apparently tended to give way when pulled and to reach the
in small clusters, but previous collection techniques brownish borders ...” [9]
have been faulty. Other particulate material – plant
and insect debris, traces of natron, aloes, etc. – This is a new method for preserving ancient textiles
has also been identified as important for study. – material which tends to “give way” when pulled
And yet, the vacuuming was done all around the is removed! A photograph in Flury-Lemberg’s book
edges of the burn holes, with no microscopic search shows a scraping tool lying beside a pile of tiny bits
of the areas carried out beforehand. Micro-remains of charred fibre in front of the “brownish border”
Figure 5 a, b and c. Before and After. On the left are X-rays taken in 1978, showing the burnholes under three of the patches.
On the right are the shapes of the holes after 'restoration' (X-rays courtesy of William Mottern, all rights reserved).
36 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
Figure 6. Pokerholes in 1978. The uppermost set of ‘pokerholes’ as photographed in 1978 (copyright Barrie
Schwortz, all rights reserved).
Figure 7. The uppermost set of 'pokerholes' being scraped. The edges of the ‘pokerholes’ being scraped clean of char in 2002
(photo courtesy of Telesubalpina TV, all rights reserved).
e-conser vation 37
WILLIAM MEACHAM
which had become the new man-made edge of is now jumbled together with the carbon dust and
the burn hole. When this slide was shown at the bits of fibre. Rogers termed this “a terrible, dis-
unveiling its effect was “devastating”. Unfortu- couraging loss”. To make matters worse, Savarino
nately, instead of cutting, the “restorers” chose relates without comment that certain scientific
to scrape away several dozen square centimetres measurements were made on the underside – re-
of charred cloth around the edges of the burn holes. flectance, fluorescence and Raman spectra – but
Since they wanted the frayed look, it would have after the carbonized deposits and brittle brown
been better for science if they had cut the small fibres around the edges of the holes had been
segment first, and then done the scraping. scraped away.
The invasive (some would say “brutal”) nature of There are several other types of data that have been
this operation was seen painfully clearly in a pro- lost. One is the particulate evidence on narrow led-
gramme on Italian television which shows a few ges of cloth beneath the patches that were effec-
seconds of scraping around one of the so-called tively sealed since 1534. There was general vacuum-
“poker holes” – small burns which pre-date the ing and mixing of material from the sealed and ad-
1532 fire. This clip can be seen at www.hku.hk/ jacent open areas. The ultrasonic vaporizer (men-
hkprehis/shrdvid2.htm along with other clips tioned by Ghiberti) may have disturbed and dis-
showing the unnecessary exposure to light and persed particulate deposits. Sophisticated meas-
constant touching of the cloth during the “res- urements should have been made to compare the
toration”. These small so-called “poker holes” degree of oxidation of the linen in and outside the
for example are often thought to have been the sealed areas, and on the underside of the cloth,
result of burning pitch or some acidic substance to quantify how much the exposed area has de-
being dropped onto the folded cloth and eating graded due to exposure to light during the last
through four layers. Any residues that might have 468 years.
remained on the inner edges of the holes is now
dust residing in a container, the structure of their Finally, there are old fold marks and creases, im-
original in situ deposit destroyed. portant for studying how the Shroud was stored
in earlier times. One prominent crease below the
There is another category of evidence that might neck area is believed by some to date to the 7th
have existed in situ in the charred material at the century, from similar lines in an image thought
edges of the burn holes that was scraped away to have been copied from the Shroud. As noted
and pulverized. The intersection of the body image above, during the “restoration” an attempt was
and bloodstains with the charred area was, in the made to smooth these creases by applying weights
view of several scientists, crucial for the future onto the cloth; the creases were said only to have
study of those phenomena, especially if any paint, been “eased” and remain visible. But new sewing
pigment or other substance was used to create on each of the burn holes puts different tensions
or touchup the body image or bloodstain. The on the cloth, as does its new flat storage, and many
physical and chemical changes that the deposits of the old weaker creases may not be visible for
would have undergone in the thermal gradient much longer. Shockingly, an important point where
from light scorch to char is most important, and an old crease ran under a patch and into a brittle
diagnostic pyrolysis products might have remained charred area, indicating that the crease pre-dated
in trace amounts. Whatever evidence there was the 1532 fire, was scraped away.
38 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
Figure 8. Ghiberti. Mons. Ghiberti, chairman of the Conservation Commission, speaking on Italian television with the Shroud
laid out in the background (photo courtesy of Telesubalpina TV, all rights reserved).
e-conser vation 39
WILLIAM MEACHAM
been further aged by this month-long illumination. even eye surgeons and micro surgeons wear them
It was thus extremely painful to watch Ghiberti, as during extremely delicate surgical operations” [11].
chairman of the Conservation Commission, giving The argument for sensitivity does not explain why
a television interview in front of the Shroud, while the cloth was touched innumerable times simply
a lamp shines on the cloth unattended. He was to provide pressure, and during the vacuuming.
speaking about the measures then being taken to Several close-up photographs and video clips re-
conserve the Shroud. veal fingers constantly being placed on the cloth
to hold it steady. If bare hands were truly required
Another danger may be posed by the new backing for stitching, one wonders if any consideration
cloth. It was said to have been washed to de-size (impact assessment) was given to the risk that this
and soften, and tested for chemical residues by might pose in the long term. Most of the sewing
Savarino, but no other information is given. How was for mounting the new backing cloth, which as
sensitive were the tests, and for what chemicals? we have seen was not urgently required and could
Flury-Lemberg writes that the cloth had not been have been dispensed with altogether.
bleached, but Cardamone believed that the new
backing cloth could be a bleached cotton, as there Textile experts advise that gloves should be worn
were small black specks or “neps” present (a nep when handling any important or historic textile.
is a small knot of entangled fibres). Introduction The Institute of Conservation (ICON) recommends:
of a new material of whatever type, whether free “Wear fine cotton or thin vinyl gloves when handling
of bleach and sizing or not, introduces new im- or touching the textile and remove jewellery that
purities and constitutes a radical change that may may snag” [12]. In a factsheet published in 2001,
have an unforeseen impact on the relic over time. the Scottish Museums Council warned: “Damage
from touching however is usually gradual over time.
The greatest damage may come from handling with- Textiles absorb salts and fatty substances from skin
out gloves. From the video clips that are available, and eventually they discolour, stiffen and weaken
it appears that the cloth was touched thousands fibres.” [13].
upon thousands of times during the course of the
“restoration”. Flury-Lemberg responded to criti- In 1978, the scientists involved in the study of the
cism of this fact thus: “Anyone who has held these cloth were required to wear cotton gloves.The 2002
fine silk organzine threads and the corresponding “restoration” would thus represent a regression
needles in their hands will understand immediately in this regard. It is certainly true that the Shroud
that we could not wear gloves for the needlework. has often been handled throughout its history,
[…] If the restorer cannot feel what he is doing with but that fact cannot justify continued barehanded
his fingertips he cannot do a good job”. [7] touching today when the contamination effects
are known. It is quite possible that the Shroud was
While this could be a strong argument for keeping touched more times by bare hands, and exposed
restorers well away from any historic textile, one to more light, in one month of 2002 than in its
can only wonder if sewing really does require more entire history as a relic. The devout nuns in 1534
sense of touch than brain surgery. Dr. Frederick were careful to preserve every part of the precious
Zugibe, medical examiner for 30 years in New York, cloth, even blackened remnants protruding into
wrote: “I stressed the fact that there was no ex- ugly holes. The 2002 “restoration” was, alas, a
cuse for not wearing fine surgical gloves because regression in this regard as well.
40 e-conser vation
THE “RESTORATION” OF THE TURIN SHROUD
Conclusions References
Nothing can insure that any object or the informa- [1] B. Bonnet-Eymard, "The Holy Shroud Of Turin,
tion it contains will survive, but conservation para- Silent Witness In Preparation For A Centenary
meters are well known. Many of these were violated (1898 - 1998)", The Catholic Counter-Reforma-
in the ill-considered “restoration” of the Shroud. tion in the 20th century, Paris, 1997
The image on the Shroud presents a unique and
very complicated conservation challenge, and it [2] G.M. Zaccone and B.Barberis, “The new
can only be met by the highest standard of scientific measurements of the Shroud”, in M. Flury-
collaboration. This needs to be addressed in a me- Lemberg, Sindone 2002, L'intervento conser-
thodical, scientific manner, subject to rigorous vativo, Preservation, Konservierung, Editrice
peer-review at an international level. ODPF, Turin, 2003
Deep concerns over the “restoration” led a group [3] O. Petrosillo, “The Shroud has been changed:
of 52 Shroud researchers to petition the Vatican in the secret operation from June 20 to July 22”,
2006. They requested that “an international com- Il Messagero, August 10, 2002 [in Italian]
mission of respected scientists and other know-
ledgeable persons be appointed, to advise on all [4] F. Sisinni, “The Shroud is a unique object to
matters relevant to the Shroud’s conservation, be conserved in its integrity”, Il Tempo,
scientific testing and long-term preservation as August 11, 2002 [in Italian]
an object of study”. It was suggested that repre-
sentatives of the Pontifical Academy of Sciences [5] S. Landi, personal communication, August 20,
and the Vatican Museum be included. There was 2002
no response to the petition.
[6] P. Orlofsky and D. L. Trupin, “The role of con-
Seeking to justify the aggressive “restoration”, Flury- noisseurship in determining the textile con-
Lemberg cited the words of the late Prof. Adler: servator's treatment options”, Journal of the
“If we are remiss in undertaking conservation/ preser- American Institute of Conservation 32, no. 2,
vation studies and measures on the Shroud of Turin, 1993, pp. 109-118
future generations will have every right to castigate
us for failing to meet our responsibilities. History will [7] M. Flury-Lemberg, Sindone 2002, L'intervento
not be kind to us” [14]. Sadly, his words were not conservativo, Preservation, Konservierung,
heeded, the studies were not undertaken, and his- Editrice ODPF, Turin, 2003
tory will indeed not be kind to those responsible.
[8] R. Rogers, “The chemistry of autocatalytic
Acknowledgments processes in the context of the Shroud of Turin”,
www.shroud.com/pdfs/rogers3.pdf (accessed
Aldo Guerreschi for Figure 1; on December 28, 2009)
Telesubalpina TV for Figures 3, 4, 7 and 8:
Barrie Schwortz for Figure 6; [9] G. Ghiberti, Sindone le immagini 2002 Shroud
William Mottern for the x-ray photographs in Figure 5. images, Editrice ODPF, Turin, 2002
e-conser vation 41
WILLIAM MEACHAM
[10] J. Beck, Art Restoration: The Culture, the Busi- CALL FOR SUBMISSIONS
ness, the Scandal, W.W. Norton, New York, 1996
e-conservation magazine is open to submission
[11] F. Zugibe, “Comments”, www.shroud.com/ of articles on a wide range of relevant topics
restored.htm (accessed on December 28, 2009) for the cultural heritage sector.
[12] Institute of Conservation (ICON), “Care and Next deadlines for article submission are:
conservation of costume and textiles”,
www.icon.org.uk/images/stories/costume.pdf for Issue 14, April 2010 – submissions due
(accessed on January 31, 2010) 1st March 2010
[13] Scottish Museums Council, “Caring for Textile for Issue 15, June 2010 – submissions due
Collections in Museums”, discontinued, but 1st May 2010
still available at http://web.archive.org/web/*/
www.scottishmuseums.org.uk/pdfs/Factsheet_ Nevertheless, you can always submit your
textiles.PDF manuscript when it is ready. Between the
receival of the manuscript until the final
[14] A. Adler, “Conservation and preservation of publication may pass up to 3 months
the Shroud of Turin”, Shroud Spectrum Inter- according with:
national, no. 40, 1991, pp. 2-6 - the number of the manuscripts on hold,
submitted earlier by other authors
- the release date of the upcoming issue
WILLIAM MEACHAM - the pre-allocated space in the magazine
Archaeologist to each section
Contact: wmeacham@hkucc.hku.hk
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William Meacham is an American archaeologist for more information.
resident in Hong Kong since 1970. He has con-
ducted numerous excavations in Hong Kong and
Macau, and written widely on South China pre-
history, in particular on the origins of the Austro-
nesians. In 1983 he published a major study of
the Turin Shroud in the renowned journal Current
Anthropology, and in 1986 was appointed by the
Pontifical Academy of Sciences to a commission
to advise on carbon dating the Shroud. He was
one of 20 foreign experts invited by the Archbishop
of Turin to the unveiling of the “new-look” Shroud
in 2002. In 2005 he published The Rape of the
Turin Shroud detailing the twin fiascos of carbon
dating and “restoration” carried out on the relic
in recent years.
42 e-conser vation
THE CRITICAL RH FOR THE APPEARANCE
OF “BRONZE DISEASE” IN CHLORIDE
CONTAMINATED COPPER AND COPPER
ALLOY ARTEFACTS
by Alexios Papapelekanos
Copper (Cu) and cuprous chloride (CuCl) powders were used to establish the critical RH value that CuCl
transforms into copper trihydroxychlorides, the corrosion products of the so-called “Bronze Disease”.
XRD analysis of the tested samples showed that the rate of transformation is fast above the
deliquescence point of CuCl (68.4% RH at 19.4º C) but very slow below it. The critical RH value for CuCl
transformation was found to be at 63% RH. However, subtle variables such as air movement,
composition of samples and type of substrate may result in the depression of the RH value that this
transformation occurs. Nevertheless, the results of this study suggest that copper artefacts would be
safe from the occurrence of “Bronze Disease” in the ambient museum environment (45-60% RH),
provided that the upper limit is not exceeded. More experimental data are needed to clarify the above
suggestions.
ALEXIOS PAPAPELEKANOS
2HCl + 2Cu = 2CuCl + H2 (3) Rosenberg [6] was the first to recognize that oxy-
gen and moisture is required for “bronze disease”
Although the copper corrosion stratigraphy can to develop. He experimented with a series of satu-
be complex, there is a general pattern which ap- rated salt solutions giving a range of different RHs
plies to burial environments and is shown in fig- and he found that the transformation of cuprous
44 e-conser vation
“BRONZE DISEASE”
chloride in bronzes occurred above 71% RH. Some cur-rent knowledge on the critical environmental
years later, it was proposed [7] that a RH in the con-ditions that lead to the manifestation of
40-50% range should be specified by museums for “bronze disease”. Specifically, the aims and ob-
safe displaying of copper artefacts, but without jectives of the study are:
presenting experimental data that would justify - To suggest the critical RH value that CuCl trans-
this suggestion. forms into copper trihydroxychlorides.
It seems that the lack of experimental evidence - To investigate the aggressiveness of the corrosion
coupled with the daunting name of the reaction reaction leading to “bronze disease”.
has brought confusion concerning the RH values - To test the theory developed during the project
that CuCl remains stable. This is exemplified by that corrosion reactions leading to “bronze disease”
the different suggestions brought up by different are apprehended below the deliquescence point
authors. A common advice is that chloride-conta- of CuCl.
minated archaeological copper alloys should stay - To use the results of this study to suggest safe
in a dry environment [1]. Indeed this seems to be RH levels for copper and copper alloy objects and
the conservation approach in museums; copper thus contribute to the optimum management of
alloy artefacts, like iron artefacts, are being stored the museum’s environmental and financial re-
and displayed under desiccated conditions. sources.
Some [8] have recommended that the RH should
be kept in the 40-50% range, whereas others [9] Materials and Methods
have stated that CuCl is unstable above 40% RH.
Scott [3], on the other hand, reported that CuCl Sample preparation
reacted at 70% RH within a day. He also suggested
that a RH between 42-46% is adequate for the stor- Powdered samples for investigating “bronze dis-
age or display of untreated artefacts. The specific ease” corrosion reactions have been used in pre-
suggestion was based on experimental results of vious studies [3,10] and seem to produce reliable
compressed tablets of cuprous chloride, powdered experimental results. They provide a large surface
cuprous chloride and copper powder mixtures kept area which produces faster corrosion reactions.
in a humidity cabinet for two years inside which Indeed a few days are enough to determine if
the RH fluctuated between 42-46%. After the end “bronze disease” has occurred, due to the rapidity
of the experiment no change was observed to the and spontaneous nature of the corrosion reaction.
tested samples. However, Scott did not expose Analar grade CuCl and Cu powders were used to
the samples to a range of RH’s. This was done by make up the samples for the experiments. The
Tsatsouli [10] who found that CuCl powder does not tested samples were:
react at 45% RH and below, but when in contact - CuCl in contact with Cu powder. The ratio for
with copper powder it transforms into Paratacamite the CuCl/Cu mixtures was 1:1;
(6% of the mixture), which is a sign for “bronze - CuCl on its own as a control;
disease”, at 40% RH. - Cu on its own as a control.
Having said the above, the present study concen- The experimental tests were carried out in a Vötsch
trates on the Cu-CuCl system to fill gaps in the Industrietechnik VC 4018 model environmental
e-conser vation 45
ALEXIOS PAPAPELEKANOS
chamber. The test space has humidity and tempera- used were Cu Kα and Cu Kβ and spectra were ac-
ture sensors which are controlled via S!MPATI (Si- quired at 30 mA and 40 kV. The mineral phase iden-
mulation Package for Test System Integration) tification and semi-quantitative analysis was per-
computer software. Deionized water was used for formed by X’Pert HighScore software. The com-
the operation of the climatic chamber. puter software searched the reference database,
For meeting the aims and objectives set out for this with over 150,000 XRD patterns, for matches to
project the following experiments were carried out the specimen’s spectrum. It suggested the mineral
(table 1). A flexible approach was required for phases that may be present based on the existence
identifying the critical RH value that CuCl trans- and position of peaks as well as the quality of the
forms into copper trihydroxychlorides. Therefore, peak intensities of the specimen.
experimental conditions for each set of experiments The obtained powder diffraction peak lists were
depended on the analytical results obtained from always double-checked by visual inspection against
the previous one. This order also reflects the un- a number of mineral phases that were expected to
predictability of the project. The amount of vari- occur in the specimens. The d-spacing and relative
ables was controlled by keeping the temperature intensity of peaks were used as identification cri-
stable at 20 ºC. teria and the powder diffraction files used for the
The above experiments were carried out to sug- visual checking belonged to the following crystal-
gest the critical RH value of CuCl transforma- line phases:
tion. In ad-dition, experiment 4 was carried out - Cuprous chloride (CuCl)
to investigate the aggressiveness of the corro- - Copper (Cu)
sion reactions lead-ing to “bronze disease”, as - Atacamite – Botallackite – Clinoatacamite –
the samples were taken out of the environment- Paratacamite [Cu2(OH)3Cl]
al chamber at specified time intervals. - Cupric hydroxychloride [Cu(OH)Cl]
- Eriochalcite [CuCl2.2(H2O)]
X-ray diffraction analysis - Cupric chloride (CuCl2)
- Cuprite (Cu2O)
The specimens were analyzed by XRD on an XPERT-
PRO diffractometer system. The system’s scan step Evaluation of the results of the experimental pro-
size was set at 0.0170 [º2Theta], the scan step cedures was based on a combination of the visual
counting time at 21.3216 [sec] and the scan range inspection of the colour of the samples and the
at 5.0084-74.9634 [º2Theta]. The X-ray sources XRD analysis performed on them. Reference dif-
46 e-conser vation
“BRONZE DISEASE”
fraction patterns of CuCl, Cu and Cu+CuCl from the in the beginning (e.g. 3 days) and more by the
bottle were obtained to act as a standard and for end of the experimental period (9 days).
comparison with the tested samples. XRD analysis results for the Cu+CuCl samples are
displayed in Table 2. The XRD spectra from three
Results different time periods of the experiment are com-
pared in Figure 3. For the Cu+CuCl samples no
XRD results on the Cu+CuCl and CuCl samples ex- change was observed during the first six hours,
posed at 38% for 10 days, at 42% for 12.7 days and but at 9 hours Cupric Hydroxide Chloride (CuO-
at 62% RH for 5.8 days showed no measurable HCl), which is a metastable corrosion product,
change in their mineral composition, and there- and Paratacamite started forming. This mineral
fore no signs of “Bronze Disease”, when compared formation was slow for the first two days and by
with the reference samples from the bottle. the beginning of the 2nd day CuOHCl disappeared.
Table 2. Mineral composition of the Cu+CuCl samples including the reference sample from the bottle.
Copper Cuprous chloride Paratacamite CuOHCl
Cu+CuCl (reference) 49% 51% _ _
e-conser vation 47
ALEXIOS PAPAPELEKANOS
From the 3rd day onwards the concentration of Pa- Samples at 63% RH and 20ºC
ratacamite increased at a faster rate, to reach 22%
on the 9th day of the experiment. Two Cu+CuCl samples, one CuCl sample and one Cu
sample were prepared for this experiment and left
XRD analysis of the CuCl samples showed a different in the environmental chamber for 6.5 days. The
picture (table 3) from that of the Cu+CuCl samples. CuCl sample showed no colour alteration, where-
Although after 1 day CuCl concentration was very as the Cu+CuCl samples had very few tiny spots of
high (86%), after four days there was no CuCl left in light green Paratacamite powder on their surface.
the sample and instead CuOHCl was the major min- The XRD analysis results are shown in Table 5 and
eral phase (66%) followed by Paratacamite (19%) the XRD spectra of the tested Cu+CuCl and of the
and Eriochalcite (15%). The mineral composition Cu+CuCl from the bottle are compared in Figure 5.
of the samples stayed more or less the same after The Cu+CuCl sample contained 1% Paratacamite
12 days. The Cu sample remained unchanged. whereas the CuCl sample had 1% CuOHCl. The Cu
sample remained unchanged.
Samples at 65% RH and 20ºC
48 e-conser vation
“BRONZE DISEASE”
Discussion
The XRD results of the tested samples at 63% and is polar it gets attracted to the electrostatic charge
65% RH show clearly that the manifestation of of the ions derived from the salt and therefore
“bronze disease” is much slower compared to that the escape of water molecules is hindered [13].
at 70% RH. The increased transformation rate of Therefore, when the deliquescence point of CuCl
CuCl at 70% RH is probably due to the deliques- is reached, the water is incorporated into the
cence point of CuCl which occurs at 68.4% RH when crystal structure of the mineral which results in
exposed to 19.4ºC [12]. Above the deliquescence the quick formation of “bronze disease”. At 70%
point of CuCl, at 70% RH, liquid water is absorbed RH, water and oxygen are freely available to be
into the crystal structure of CuCl and because water consumed via the oxidation and hydrolysis of CuCl:
e-conser vation 49
ALEXIOS PAPAPELEKANOS
4CuCl + O2 + 4H2O = 2Cu2(OH)3Cl + 2H+ + 2Cl- (4) leading to “bronze disease” are very fast above
the deliquescence point of CuCl, whereas they are
The presence of HCl in the CuCl samples as a result much slower below it. Furthermore, a Cu+CuCl
of equation (4) was verified by the measurement sample after 6.5 days exposure at 63% RH formed
of their pH which was found to be as low as 2.5. Paratacamite but no change could be identified
in Cu+CuCl samples after 5.8 days exposure at 62%
Why “bronze disease” occurs at 63% RH? Not RH. This finding does not necessarily mean that
as aggressive as is currently thought? 63% RH is the critical point of CuCl transformation.
In fact there may be no critical RH for CuCl trans-
If water is freely available for corrosion reactions formation because the chemisorption of water in-
only above the deliquescence point of CuCl then why to the crystal structure of CuCl probably depends
Paratacamite occurs at 65% and 63% RH? Since on many subtle variables such as sample composi-
water is required for the occurrence of “bronze tion and air movement. However, the results of the
disease”, it means that CuCl incorporates water present study and taking into account the fact
into its crystal structure before the deliquescence that the experimental conditions were very ag-
point is reached. It seems that there are other gressive and would not occur in real conditions,
factors, apart from RH and temperature, affecting suggest that the copper and copper alloy artefacts
the kinetics of water absorption in a salt such as would remain stable at a RH below 60%. This means
the composition and type of substrate, and air that chloride-contaminated copper alloy artefacts
movement [13]. would not require any special attention and would
Overall, the results from this study show that where- probably be safe in ambient museum environmental
as the rate of CuCl transformation into copper tri- conditions (45-60%) as long as the upper limit is
hydroxychlorides is slow at 65% and 63% RH, it not exceeded. Longer experimental periods and
dramatically increases above its deliquescence variable experimental conditions, especially in
point. In addition, the present study suggests that the 50-60 RH range, are required in order to test
the copper and copper alloy artefacts should re- this suggestion.
main stable at a RH below 60% and that the current The present study does not aspire to provide defi-
belief on the critical RH value of “bronze disease” nitive answers on the optimum storage of copper
occurrence is overstated and exaggerated. How- and its alloys. The word optimum also refers to
ever, this recommendation needs clarification with energy efficiency which is very important nowadays.
longer experimental periods. There has to be adequate justification for the spe-
cification of environmental conditions for cultural
Conclusions objects, especially when air-handling units (e.g.
air-conditioners) with high operating costs are
From the early part of the 20th century “bronze employed. These costs will be higher if desiccated
disease” caused great concern among museum conditions are specified.
curators [14]. Since then, several authors have Therefore, more scientific data are required to
recommended that safe RH values for copper and elucidate our understanding of the mechanism
copper alloy artefacts should be below 40% RH. of CuCl transformation into copper trihydroxy-
These suggestions, apart from two exceptions [3, chlorides so as to avoid basing environmental
10], are not backed up by scientific evidence. specifications on largely empirical observations.
In this study, it was found that corrosion reactions Based on the results of the present study it is
50 e-conser vation
“BRONZE DISEASE”
suggested that museums become bolder in their for Conservation 29, no. 2, 1990, pp. 193-206
environmental approach of storing and displaying
copper alloy artefacts and quit the “better safe [4] D. A. Scott, “A Review of Copper Chlorides and
than sorry” policy if they ever hope to be cost- Related Salts in Bronze Corrosion and as Paint-
effective. ing Pigments”, Studies in Conservation 45,
2000, pp. 39-53
Acknowledgments
[5] J. H. Payer et al., “Role of Transport Properties
The following people are thanked for their valu- in Corrosion Product Growth”, Materials Sci-
able help in completing this article: ence and Engineering A198, 1995, pp. 91-102
David Watkinson, my supervisor, for his continuous
support and useful discussions and comments that [6] G. A. Rosenberg, “Antiquities and Humidity”,
much improved the scientific quality of the pro- The Museums Journal 33, 1933, pp. 307-314
ject; Mark Lewis of the Cardiff University conser-
vation department for demonstrating the operation [7] R. M. Organ, “Aspects of Bronze Patina and
of the climatic chamber; Louise Joyner and Ian its Treatment”, Studies in Conservation 8,
Freestone of the conservation department for their 1963, pp. 1-9
kindness on showing me how to operate the XRD
and for the useful discussions; Michael Lambert, [8] W. T. Chase, “Bronze Disease and its Treatments”,
Tom Cottrell and Amanda Valentine of the NMGW The Department of Fine Arts: Bangkok National
for their kindness on showing me how to operate Museum, 1975
the XRD.
[9] S. Turgoose and S. J. Duncan, “Techniques for
References Metal Sculpture Corrosion Inhibition”, in T.
Drayman-Weisser (ed.), Dialogue/89 - The
[1] J. H. Payer, “Bronze Corrosion: Rates and Conservation of Bronze Sculpture in the Out-
Chemical Processes”, in T. Drayman-Weisser door Environment: A Dialogue Among Conser-
(ed.), Dialogue/89 - The Conservation of Bronze vators, Curators, Environmental Scientists and
Sculpture in the Outdoor Environment: A Dia- Corrosion Engineers, National association of
logue Among Conservators, Curators, Environ- Corrosion Engineers, Houston Texas, 1992,
mental Scientists and Corrosion Engineers, pp. 275-287
National association of Corrosion Engineers,
Houston Texas, 1992, pp. 103-122 [10] N. Tsatsouli, “Bronze Disease: The Influence
of Relative Humidity on Cuprous Chloride”,
[2] B. Knight, “A Review of the Corrosion of Iron Unpublished MSc in Conservation Thesis,
From Terrestrial Sites and the Problem of Post- Cardiff University, 2004
Excavation Corrosion”, The Conservator 14,
1990, pp. 37-43 [11] F. M. Howie, “Elements, Alloys and Miscella-
neous Minerals”, in The Care and Conservation
[3] D. A. Scott, “Bronze Disease: A Review of Some of Geological Material. Minerals, Rocks, Mete-
Chemical Problems and the Role of Relative orites and Lunar Finds, F. M. Howie (ed.), But-
Humidity”, Journal of the American Institute terworth-Heinemann, Oxford, 1992, pp. 51-55
e-conser vation 51
ALEXIOS PAPAPELEKANOS
RESOURCES
vent Salt Damage in Porous Materials, European
Commission Research Report No. 11 (Protection
and Conservation of European Cultural Heritage),
Archetype Publications, London, 2000, pp. 3-12
Contact: papapelekanos.cc.co@gmail.com
Website: http://www.collectionscare.com
52 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH
OF THE HISTORICAL MONUMENT
FROM HERESTI, ROMANIA
Laser techniques are being successfully employed in the conservation of historical buildings in many
European countries and not only, proving the advantage in preserving historical layers otherwise
impossible, especially for very degraded stone or metal.
Today, optoelectronical systems make products out of the laser cleaning research projects, for example,
and laser investigation-diagnosis systems are more often desired. An increasing number of professional
conservator-restorers are also being acquainted with these new instruments and methods. The future
perspective of lasers in conservation will deal more and more with current applications.
This paper describes how a good practice demonstration based on an advanced laser technique generated
useful results in the frame of the “STONE HOUSE” Project - CLT2006/A1/RO-80 - under the Culture 2000
Program. Long-term microclimate monitoring and air quality periodical evaluation were associated with tempera-
ture distribution on exposed outdoor walls to identify the deterioration stress. Thus, a 3D model with the
thermal representation of the walls was generated, which is much more useful than a traditional thermal repre-
sentation. Measurements were made during the cold season up to July 2007. Also, repeated laser scanning
allowed to complete successive three-dimensional records of the surface at different moments that could
evaluate erosion speed and to check preliminary theoretical (analytical) stress distribution on the surface.
Introduction
Historical buildings and cultural heritage are af- Particularly, the challenge of the project consists
fected not only by natural ageing but also by nat- in the revitalization of a multi-ethnic element by
ural calamities, inappropriate interventions and placing it in the chore of a regional anthropolo-
modifications, and even vandalism. That is the gical research net. The historical site, located at
reason why documentation of works of art is so 35 km from Bucharest and 15 km North from the
important, mainly in what concerns fragile arti- Danube River, includes a piece of land of 6 ha, a
facts, monuments to be restored, or archaeolo- 17th century Church, and two country castles. One
gical sites under excavation works. Moreover, the of those, known as the Stone House, is an archi-
documentation of works of art, especially high tectural monument built in 1646 by the Chancel-
accuracy documents, allows the construction of lor of the King Matei Basarab, following an Italian
real and virtual models, providing basis for res- Renaissance pattern. The import of this European
toration studies and knowledge dissemination. model was perceived at the time by the contem-
poraries as a sign of modernity. This particular
The general objectives of the project have been building, made of an unusual material for the vil-
focused on: shafting and highlighting the com- lage, has become in time the mark of a local iden-
mon cultural heritage of European significance; tity. The project aimed to place this memory ob-
disseminating know-how and promoting good prac- ject in a larger values map (Balkans region).
tices concerning conservation and safeguarding
the community heritage; fostering an intercultural An on-site demonstration of the results of this
dialogue and know-how exchange between Roma- multidisciplinary applied research implementa-
nia, Bulgaria, France and other countries from the tion for historical monuments investigation was
Balkan area (Serbia, Greece, Macedonia, Croatia organized, as good practice example, as one of the
and Turkey). planned activities of the project. Although the
54 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH FROM HERESTI
practice of scientific conservation is more and more in a very pure color and highly directional light
applied by universities and important museums it beam. This technique is able to acquire, store and
is less known and respected when the monument process 3D computer images and information of
is outside of urban areas. The trained group in- the objects using a low power laser beam as the
cluded students, young architects and conserva- light source and detecting the light reflected from
tor-restorers, but local people also assisted. This the object surface on very sensitive sensors.
demonstration certainly showed the polyvalent
result of the project. As high quality solution, comprehensive and sup-
ported by expert professionals, 3D scanning is a
Being characterized by shape, the building was proper solution for a fast, complex and accurate
recorded and documented in 3D (three-dimen- recording of historical building digital model.
sional or volumetric) images in order to contain Because of the unfriendly environment condi-
more complete geometrical information and to tions’ dynamics, with high temperature gradients
make possible volumetric reproductions, like ma- and direct exposure to seasonal strong wind, the
terial replicas or virtual images. 3D Laser Scanning evaluation of differential erosion risk was only
is a technique that takes advantage of the coher- possible by corroborated investigations and
ence properties of laser radiation, which consists measurements.
e-conser vation 55
DRAGOS ENE and ROXANA RADVAN
56 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH FROM HERESTI
Microclimate Monitoring
e-conser vation 57
DRAGOS ENE and ROXANA RADVAN
Detailed measurement plots and values are avail- Figure 6. Plan of the ground floor with the localization of
able on the project’s website at http://inoe.inoe. sensors S7 and S15.
ro/stonehouse/.
58 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH FROM HERESTI
Table 3. Variation of the temperature [0C] from June 1 to July 17, 2007.
Table 4. Variation of the relative humidity [RH] from June 1 to July 17, 2007.
Figure 8. Plots of temperature and relative humidity variations recorded by the 15th sensor.
e-conser vation 59
DRAGOS ENE and ROXANA RADVAN
Figure 10. Relative humidity variation on the facade wall in March 2007.
60 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH FROM HERESTI
Thermovision
Monitoring of historical buildings walls represents grated stone pieces. A perfect “fingerprint” of the
one of the possible thermovision applications in wind still exists on many of the original stones and
order to rebuild or conserve cultural goods. proves an unsuspected environmental stress over
The results of this technique are given with ther- the building.
mal images, displayed in pseudocolors. The advan-
tage of this display method is that it offers better The most interesting observation after preliminary
intensity variations which are easier to identify. investigation can be extracted from the thermo-
vision inspection.
Qualitative studies in thermography consist in the
study of the thermal images in order to identify All thermal images, collected in different seasons
the presence of anomalies and their localization. and at different moments of the day, indicate a
Using 3D matching algorithms, a 3D thermal rep- permanent distinct distribution of the temperat-
resentation was obtained, the thermal image being ure on the new and old stone pieces. On these,
projected on the 3D surface. the maximum gradient of temperature did not
exceed 3° C.
As a consequence of the building’s age and its lo-
cation on a higher river bank with no tall vegeta- From previous experience, the surface decay in
tion, the windy winters strongly washed out the old similar cases but with high temperature gradient
stone surfaces. The original allure of the building on surface could also be explained by the signi-
was kept due to some new aesthetically well inte- ficant temperature stress.
e-conser vation 61
DRAGOS ENE and ROXANA RADVAN
We will start a long-term study on the possible may be visualised in a 3D environment, offering
tension induced by similar categories of materi- detailed 3D mapping of selected spectra.
al but with not enough appropriate values of op- The visualisation can also be improved using Dop-
tical absorbance, thermal emissivity and other pler vibrometry techniques. Vibration is induced
parameters. to the surface of the object by loudspeakers or
piezoelectric sensors. Then, the laser is scattered
Conclusions and the Doppler shift (between an original beam
and the shifted beam) is recorded. Measuring the
Three dimensional representations of different frequency response, and combining it with a tech-
sets of measurements may represent a new and nique that acquires the response in time (laser
better way to inspect the object characteristics. scanning), a 3D visualisation of the vibration’s
amplitude can be achieved. In this particular case,
This representation of the thermal distribution the vibration may also be correlated with the ac-
on a 3D surface offers a better visualisation of tual shape of the object.
the thermal distribution, identifying the exist-
ing problems and stressful areas of the walls in a Acknowledgments
different way and offering, finally, an improved
method for diagnosis. The activities at Heresti Sone House were deve-
loped under the Culture 2000 Program Project -
Similarly, a three-dimensional representation of CLT2006/A1/RO-80. The authors are also thankful
imaging techniques may be obtained adding res- to PNCDI II program 91-009-Imagist project and
ults of laser induced fluorescence (LIF), which Nucleu Program 09-27.01.01 for financial support.
62 e-conser vation
ASPECTS OF SCIENTIFIC RESEARCH FROM HERESTI
Dragos Ene graduated in 2007 from the Faculty Roxana Radvan received the BS degree in Applied
of Electronics, Telecommunications and Informa- Optics and Fine Mechanics in 1990 from Polytech-
tion Technology at the Polytechnic University of nic University of Bucharest and her doctoral
Bucharest, with specialization in Applied Physics. degree on non-conventional optics in 1996 from
Since the same year he is a PhD student at the Technical Army Academy of Bucharest. She is a
Faculty of Applied Science with the main focus researcher at the National Institute of Research
on optical methods used to study conservation & Development for Optoelectronics (INOE) 2000
status of the monuments. and is working on optoelectronics application
At the present he is part of the research team on cultural heritage protection and conserva-
from the Department of Advanced Methods and tion-restoration. She coordinates a thematic
Techniques for Artwork Restoration Conservation national network in this field – PRO RESTAURO,
of the National Institute of Research & Develop- is COST G7 vice-president and member of
ment for Optoelectronics (INOE) 2000 in Bucharest. LACONA Permanent Scientific Committee.
e-conser vation 63
arp proceeding
This issue contains the third part of a temporary section dedicated to the publication of
the proceedings of the Second ARP Seminar, organised by the Professional Association of
Conservator-Restorers of Portugal.
The series of articles in this issue is dedicated to the Conservation of Textiles and Paintings.
THE ALTAR FRONTAL OF THE CHURCH
OF NOSSA SENHORA DA PIEDADE
DE SANTARÉM
by Eva Armindo
The present article describes the conservation treatment of a 17th-18th century altar
frontal from the church of Nossa Senhora da Piedade in Santarém. The altar frontal is
decorated by a floral decoration in metallic thread on a beige silk damask fabric. The
conservation-restoration treatment consisted mainly in mechanical and wet cleaning
and physical stabilization which improved considerably its mechanical stability and
aesthetics. A new exhibiting system was also implemented along with preventive con-
servation measures.
The altar frontal is part of an extensive religious textile collection which has already
been catalogued. This intervention shows a beneficial collaboration between the
responsible for religious heritage and accredited conservation professionals in order
to preserve objects of art that are so often threatened by lack of economic resources
or simply by ignorance.
EVA ARMINDO
Introduction
that this publication, along with other actions, will altar table towards the floor, on the front and sides. With
time, to be more practical, this towel was eventually cut at
help to raise awareness among the responsibles the corners and its front border part became an independent
of the other churches as well as of the general vestment [3].
66 e-conser vation
ALTAR FRONTAL CONSERVATION
2 Convent of São Domingos das Donas was the feminine side the warp and weft of a single needlepoint, having the par-
of the Dominican Order. It started in the 13th century and ticularity of being reversible [11].
it was extinct in the late 19th century [2].
4 Espolinado is a term used to describe a drawing effect
3 Damascus is a type of fabric that, on its primitive form, con- formed by a weft that limits its work to the width of its
sisted of a background effect and a drawing effect given by motifs [11].
e-conser vation 67
EVA ARMINDO
Designation Characterisation
Supplementary woof (from the Laminated gold-gilt thread, S torsion, with white silk core *
support fabric)
Galloon (perimeter contour) Galloon fabric of ivory silk *
Lacework Galloon fabric of laminated gold-gilt thread with white silk core
and S torsion *
Metallic fringe of laminated gold-gilt thread with yellow silk
core and S torsion *
Support fabric Taffeta fabric of vegetable fibres, brown colour, composed of
several patches of other similar fabrics.
* without appreciable torsion.
Concerning the decoration, the damask fabric more detailed. Thus, the middle size of the frontal
presents vegetal motifs developed symmetrically motifs suggests that it belongs to a transition pe-
around an axis of longitudinal symmetry. The riod. In addition, the used of metallic thread and
drawing contains highlighted flowers and leafs the comparison with other frontals already dated
surrounded by decorations made by laminated and that are stylistically similar, make it probable
golden-gilt thread in the espolinado technique, that the frontal dates from the 17th century or
drawing flower laces and garlanded strings. A ver- early 18th century.
tical selvedge which allowed to verify the deco-
rative sequence was also found concluding that Identification of materials
each panel of the field corresponds to a module
of the decorative pattern. The morphology of the fibers was analyzed by op-
tical microscopy through the observation of the
It should be noted that it was the combination of longitudinal cross-sections of the fibres5 in trans-
the materials and techniques that gave the shine mitted light (figure 4). The presence of silk on
and splendour to the frontal. When beige silk is the support damask fabric, on the frontal edge
used, it is causing a highlight reflection with the galloon and in the core of the laminated thread
damask fabric. Part of the decoration is made of of the decoration and lacework was confirmed,
satin, with smoother and more reflective surface, once the interior of the analysed fibres is smooth
contrasting with the taffeta areas. The lacework which is characteristic of the silk fibers Bombix
and the metallic decoration have also a strong con- Mori [5]. The same analysis was performed to the
tribution to the overall shine. support fabric which revealed the presence of
68 e-conser vation
ALTAR FRONTAL CONSERVATION
This analysis was also important as it helped in it will be easier to develop and to implement the
the selection of the materials to be used in the solutions.
conservation-restoration treatment, allowing thus
to select the most compatible materials with the The frontal present problems mainly at a physical
original ones. and mechanical level, that contribute to its weak-
ness and that also affect its aesthetic reading.
Conservation and Restoration of the Frontal
e-conser vation 69
EVA ARMINDO
The major forms of degradation (figure 6) can be are more formal alterations such as wrinkles due
enumerated as follows: to the weight of the fabric and creases due to the
incorrect storage since the frontal was often folded
- Loss of textile material by the presence of tears in the same areas, bearing the weight of other parts.
(25% loss of warp threads) and lacunas (10% loss The areas with detached laminated thread are
of warp and weft threads); mainly concentrated in the central area of the
- Loss of metal by the presence of lacunas (5%) panels and at the bottom, mostly due to the use,
and detached metallic threads (30-35%); handling and abrasion of the surface. The border
- Wrinkles, creases and strains (10%); areas between the fabric and the decoration with
- Oxidation and darkening of the metallic surface laminated thread are intrinsically weaker areas
(80% of the areas with metallic thread); as they are made from two different materials –
- Yellowing and darkening of the silk fibres (90%); fibre and metal – that react differently to the rela-
- Presence of dirt as agent of degradation, in the tive humidity and temperature. Since environmental
form of solid particles (90%), damp stains (20%), conditions were not controlled, the frontal was
paint stains (3%) and rust lacunas or stains (5%, subjected continuously to cycles of swelling and
especially on the support fabric); shrinking leading to the weakening of those union
areas and to the detachment of many laminated
The tears, caused mainly due to the loss of warp threads.
threads, are located mostly in the central panels. Aesthetically, the frontal is affected by tears, la-
Furthermore, there are also some tears in the cunas and detached laminated threads revealing
areas under the fringe, here being caused by the the underlying support fabric of darker colour.
local galloon anchors in the fabric which induced Furthermore, the oxidation and darkening of the
tensions, and abrasion in the fringe of the silk metallic surfaces led to the loss of its characteristic
fabric. The appearance of gaps is also consider- golden glow. This alteration is due to the inherent
able in the in the lower panels, near the lower end natural degradation of the metal and it occurs
which is also more favourable to wear, and espe- especially in the most exposed metallic surfaces.
cially in the first panel. In these same areas there This has contributed to its abrasion and humidity
Figure 6. Schematic representation of the main conservation problems of the frontal: - lacunas and tears; - lacunas and
detached metallic thread, - wrinkles and creases; – wax drops.
70 e-conser vation
ALTAR FRONTAL CONSERVATION
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EVA ARMINDO
Wet Cleaning lic sheen. The ink stains and those caused by hu-
midity were reduced. The wrinkles and creases were
Although mechanical cleaning removed a large successfully removed and the fibres in the areas of
amount of dirt, there were still certain types of tears and lacunas were properly aligned. It was,
stains more closely linked to the fibres and to the thus, a fundamental step to improve the conser-
metallic surfaces, likely to be removed only by vation state of the frontal.
washing.
Washing is an irreversible operation and, as such, Consolidation by needlepoint
it should be carefully considered.
The frontal presents on the support fabric one sin- This phase of the treatment was fundamental to
gle type of fibres – silk – that, despite the reported return the mechanic stability to the object as it
problems, show favourable mobility and endurance. allowed to stabilise the areas with tears and la-
At the same time, the damask is a composite ma- cunas and to consolidate the detached metallic
terial with the presence of additional wefts of la- elements. Although mechanic, this intervention
minated thread which may cause a problem once it is completely reversible which brings signific-
the actual cleaning methods of metals can degrade ant advantages in terms of conservation.
the adjacent fibres [6]. To this end, we resorted to the application of par-
The fibres and the laminated thread were capable tial supports of natural silk10, fully compatible in
to withstand a soft cleaning which consisted in the material, density, malleability and colour with the
application of distilled water8 and a neutral and original material. Each fabric support covered a
anionic surfactant9. A test was performed on the field panel and the respective frontal. The stabili-
smallest element of the ensemble, in the frontal zation of the tearings and lacunas and fixation
upper right corner, which showed no alteration or of the detached laminated thread was performed
risk for the metallic elements. using needlepoint with natural silk thread making
perpendicular lines to the weft and regular spacing
The dimensions of the elements were recorded be- of approximately 5 mm. The number of stitches
fore and placed between tulle for easier handling was the minimum required to the stabilization of
and protection during the washing. A natural sponge degraded areas. In the areas with laminated threads
was also occasionally used. After washing, the water the spacing was bigger (8-10 mm) in order not to
excess was removed with white Turkish towels and be visible. At the end, some fixation points were
flattened with weights. performed to fix the silk support uniformly across
After this procedure, there was a considerable in- the panels at regular space.
crease in the brightness of the silk fibres, despite After consolidation, a partial facing of nylon tulle
their yellowing and ageing, as well as some metal- was also applied for protection in the lower areas
8 Water is the most polar solvent that is known. It has the http://www.dow.com/surfactants/products/nonylph.htm
capacity to dissolve organic and inorganic polar dirt, to (accessed on 17/05/2009).
dissolve the acidic degradation products of the fibers, and
to serve as plasticizer agent of polymers, improving their 10 The use of support fabric of compatible material to the
flexibility and allowing the removal of deformations [6]. original is an assurance that the new fabric will have a de-
gradation pattern similar to that of the original silk, and will
9 Tergitol NP9 (Nonylphenol Ethoxylate) was used to dissolve react similarly to the environmental factors.
polar and non polar dirt [6]. Technical sheet available at:
72 e-conser vation
ALTAR FRONTAL CONSERVATION
of the panels that presented lacunas (figure 8). Figure 8. Detail of the area protected by tulle, before and
after the intervention.
Partial consolidation was performed in the gal-
loon of contour and support fabric using, in this
last case, partial supports of flax fibres.
Preventive Conservation
Figure 9. Detail of some areas from the frontal with tears, lacunas and detached metallic thread, before (a, c and e) and after
(b, d, and f) the intervention.
e-conser vation 73
EVA ARMINDO
Whenever the conservation state of the object al- that fabric in the area of the gallons, which it is
lows it, it makes perfect sense to create systems more resistant, in order to apply Velcro® in the
for its display and use. frame as well. The distribution of these strips was
planned to obtain a balanced weight distribution,
The usual fixation method of the frontal to the al- avoiding thus unnecessary stresses.
tar was using nails, pins and even adhesive tape
which caused damage to the frontal but also to Besides the main advantage of adequate exhibi-
the altar. In order to prevent further damage and tion, the frame presents other relevant advantages
to improve he display, the implementation of a such as: the physical separation of the frontal from
new exhibition system was proposed. the altar and its reduced weight, facilitating thus
its transport, even in case of emergency; the sus-
Textiles are fragile, sensitive to light and other pension of the frontal at some distance from the
degradation agents, and therefore the exposure ground which will avoid further degradation of
time should be limited to short periods and rest- the lower areas and the accumulation of dirt; the
ing periods should be scheduled. Thus, a remov- possibility of using the frame with other similar
able display of easy assembly and transport in case frontals and its use in other places than the church.
of emergency was designed. It is also advisable to protect the frontal during
the exhibition in order to avoid the deposition
A system was proposed that consisted in the con- of dirt and to prevent damage from visitors. The
struction of a wooden frame [8], of the same di- most effective protection would be to place in
mensions as the frontal (figure 10), which would front of the altar an acrylic sheet with the same
match the bars and beams according to the dis- dimensions and preferably with UV protection,
tribution of the galloons, with the application of or at least a physical barrier to keep visitors at
strips of Velcro® on all its extension. On the back- some distance during the ceremonies (figure 11).
side, a “lining” of washed cotton fabric was at-
tached by needlepoint to the support fabric. After- It is known that light is one of the main degrada-
wards, some strips of Velcro® were also sewn to tion factors of textiles, with cumulative effects and
Figure 10. Dimensions (cm) of the frame and application points of the Velcro® for fixing the frontal.
74 e-conser vation
ALTAR FRONTAL CONSERVATION
Figure 11. Exhibition of the frontal mounted on the frame at the church of Nossa Senhora da Conceição in the Cathedral during
the Easter Triduum. A barrier was placed in front of the altar for further protection.
e-conser vation 75
EVA ARMINDO
The financial resources also did not allow the ac- ible for establishing the link between the churches
quisition of special storage materials, known to and accredited professionals, contributing thus
the stable and chemically inert [9]. A satisfactory to increase the awareness of the heritage holders,
low cost solution was implemented by the use of and promoting a closer coordination and collab-
cotton cloth unbleached and previously washed, oration to their real needs.
and white silk paper (ideally acid free). These ma- Thus, joint efforts have already begun to help safe-
terials should be washed and substituted on a guard the assets and in particular of the religious
regular basis (annually). textiles. Although the starting point has often few
resources, it is our objective to overcome these
Concerning the frontal, and given its dimensions, initial limitations in order to solve new challenges
it was decided to store it rolled12 up with the front and develop solutions for the preservation of this
part, which is more voluminous, on the outside. important heritage.
The rolling was done on a tube longer than the
frontal and with a diameter larger than 20 cm [10]. The adaptation of theoretical concepts to reality
The roll should not be too tight and it should be is a continuous but essential challenge as the con-
placed with an interface of other material to pro- servation-restoration is feasible within the search
tect the surface of the object, and fixing the fab- of balance between the real and the ideal.
ric with strips of tissue or Velcro®. On this case,
previously washed and unbleached cotton fabric
and a sealed cardboard tube were used as inter- Bibliography
face materials. The pieces were also properly la-
belled in a visible area for future reference. [1] E. Neves and M. Covas, “Igreja Piloto: Segur-
ança, Conservação Preventiva e Inventário”,
The environmental parameters from storage and in E. Neves and J. Ganhão (coord.), Igreja de
exhibition areas should also be controlled in order Nossa Senhora da Piedade, Santarém – História
to achieve values with minimal oscillations with- e Património, Diocese de Santarém, Santarém,
in relative humidity = 50 ± 5% and temperature 2008, pp. 52-57
= 20 ± 5 º C [6].
[2] E. Armindo, “A Colecção Têxtil da Igreja de
Conclusions and Future Work Nossa Sra. da Piedade”, in E. Neves and J.
Ganhão (coord.), Igreja de Nossa Senhora da
The conservation-restoration intervention here Piedade, Santarém – História e Património,
reported was the starting point for the interven- Diocese de Santarém, Santarém, 2008,
tion on other textile items from the same collec- pp. 122-129
tion as well as from other parishes in the Diocese
of Santarém. [3] T. Alarcão and J. A. S. Carvalho, Imagens em
The current Diocesan Commission for the Church Paramentos Bordados. Séculos XIV a XVI,
Cultural Heritage from Santarém is the respons- Instituto Português de Museus, Lisboa, 1993
76 e-conser vation
ALTAR FRONTAL CONSERVATION
e-conser vation 77
THE VISITATION OF THE BLESSED
VIRGIN MARY, BY THOMÁS LUIS
by Filipa Raposo Cordeiro
This paper aims to describe the study and scientific treatment of the 16th century
panel painting "Visitation of the Blessed Virgin Mary to Saint Elizabeth" by the painter
Thomás Luis. At the present the painting is exhibited in its original location, the church
of the Holy House of Mercy (HHM) from the old Aldeia Galega do Ribatejo, now the
city of Montijo (Portugal). The systematic stages of the conservation intervention,
based on the principles of authenticity, compatibility, stability, reversibility and dif-
ferentiation, are here described. Criteria of de-restoration, re-restoration and exhibi-
tion are also discussed. The main objective of this paper is to sensitize the owners and
future conservator-restorers to three key issues: the uniqueness of the cultural object
(unicum), the authenticity (less is more), and the conservator-restorer versus other
professionals.
THE VISITATION, BY THOMÁS LUIS
The Visitation of the Virgin to St. Elizabeth, so far The technique and the original materials
the only easel painting known by Thomás Luis,
was commissioned by the founder of the HHM of The interdisciplinary study of the technique used
Aldeia Galega, Nuno Alves Pereira, to the mannerist in the Visitation revealed that the work is the in-
painter Thomás Luis (also named “Thomás Luis tervention of three artists. This is essential for
B” [1] or “Thomas Lewis” [2]). The preference for the comprehension of the technique used and the
this painter might be explained by the fact that role of artisans and painters in the Portuguese
the founder maintained connections with the painting of the late 16th century in the context
House of Braganza [3] for whom he worked in Vila of contemporary European painting.
Viçosa, namely at one ceiling at the Monastery of At that time, the panel ground was not prepared
Chagas (c. 1595-1600), and four ceilings at the by painters. The carpenter's workshop acquired
Ducal Palace (1602-c.1603). the wood, prepared the board surfaces and built
A decade after the construction of the church (1571- the frames, friezes and columns. In cities where
1578)2 the HHM commissioned the altarpiece the painting “industry” was somehow developed
that would receive the Visitation by Thomás Luis there were often guilds of carpenters specialized
(figure 1). in the preparation of wood panels and frames.
The theme of the Visitation, the meeting between
the one that helps and the one that needs to be
1 The founding date of Aldeia Galega do Ribatejo is not con-
helped, is deeply connected to the spirituality of
sensual. According to José Simões Quaresma, it may have been
the Houses of Mercy, hence being its patron [1]. founded in 1520. In J. S. Quaresma, “Albergaria, Hospital e
The day of the Visitation was established by a Misericórdia de Aldeia-Galega do Ribatejo”, Author’s edition,
royal charter of King Manuel I at June 17, 1516. 1948
The HHM of Aldeia Galega is currently a private in- 2 The construction of the church was authorized by royal
stitution of social solidarity engaged in the prac- charter from King Sebastian at July 17, 1571. The mason
tice of Christian charity and whose main objective Fernão Fidalgo worked in the church from 1571 to 1578.
In J. S. Quaresma, op. cit, 1948
is, according to the 1993 commitment, to make
"acts of social solidarity and Catholic worship"3. 3 Recovered in November 15, 2008; www.misericordiadomontijo.pt
e-conser vation 79
FILIPA RAPOSO CORDEIRO
Documents revealed the Visitation’s altarpiece In May 16, 1591 the ombudsman António da Gama
wooden support was commissioned to a Flemish de Mendonça hired two artists, also from Lisbon:
master. Thomás Luis, oil painter [5], and Domyngues Pa-
In August 1588, the HHM ombudsman Diogo Bo- chequo [Domingos Pacheco], tempera painter [5],
telho hired the master carpenter Jacques (or Já- who would perform the gilding of the columns and
come) de Campos, that was living in Lisbon at the the upper frieze according to a 1592 receipt [5].
time, to execute an altarpiece for the Church of The two artists signed the aforementioned receipt
Mercy for the price of “one hundred and twenty that refers to a “middle panel painting”. By the
thousand reis” [3]. monumental dimension of the painting and its
The monumental panel (291.5 x 212 cm), composed subject, the Visitation is likely to be the center
of 8 boards with vertical wood grain according to panel of the altarpiece, finished in 1592 [1].
the board’s height, is assembled with double do-
vetails and reinforced with horizontal wood bars It is plausible that the receipt could refer to the
(unfortunately lost) united by thin hand-forged application of the ground layer which was a task
four-side nails, and with triangular heads, inserted performed by craftsmen in the 16th century. The
from the front side (figures 2-4). The use of nails ground of the Visitation, most probably applied
in this particular way was known in contemporary by Domingos Pacheco, is composed of one layer
Spanish and Italian panels. with the thickness of 122 µm [1] (analyzed by
optical microscopy – OM –, and polarized light
The wooden longitudinal and transversal support microscopy – PLM [6]), composed of gypsum and
sections were analyzed with the help of a dicho- skin glue [6]. The material identification was
tomous table to determine the type of tree specimen possible by the use of micro chemical tests (MT)
used [4]. Thus, it was concluded that the wood is complemented with X-ray fluorescence spectro-
a deciduous Quercus, more precisely an oak tree metry (XRF) and Fourier Transform Infrared Spec-
which is very common in Portugal, especially in trometry (FTIR) [6].
Lisbon, and that was also imported from the Baltic The painting was subjected to infrared reflecto-
countries through merchants from Bruges and graphy (IRR) up to 2000 nm although no under-
Antwerp. drawing was observed.
2 4
80 e-conser vation
THE VISITATION, BY THOMÁS LUIS
The presence of a localized coloured imprimatura Above the oak support, the following structure and
[1] was detected by close observation of the paint- materials are observed: ground layer made of a
ing with a magnifying glass and by microscopic protein-based binder and inorganic filler; absence
analysis (OM and PLM) in some of the eight samples of underdrawing; localized yellowish imprimatura
removed. This is a yellowish layer with a thickness made of inorganic and organic pigments with egg
of 63-70 µm that was not applied for physical rea- and oil mediums; two to four paint layers with in-
sons, as a sealing intermediate layer between the organic and organic pigments and the same two
ground and the paint layer but, apparently, it had previously mentioned mediums; and an old resinous
an optical function that affected the tones of the protective layer [1].
subjacent paint layers in the following areas: the
Virgin’s mantle; Saint Isabel robes, namely the Historic Background
cap, cloak and tunic; and the carnation and bon-
net strip of the second female character. The painting was found as a fragment and in an
extremely poor conservation state. However, the
Thomás Luis applied in general two to four paint historical background of the artefact helped to
layers of an average thickness between 20 and 80 comprehend the forms and extension of the ob-
µm. Only occasionally, with an incidence of two served severe degradation. After its creation, the
from the eight areas analyzed, the painter used Visitation reached its apogee, followed by a deca-
thick paint layers: one, with a thickness of 121 µm, dent period. Most likely, the painting was in good
is a layer that corresponds to a pentimento (re- conservation state for a century and a half after
pentance or, more precisely, an hesitation of the it was commissioned once a 1710 document [3]
painter in the orange robe of Saint Isabel) while refers to works in the church but mentions nothing
the second, with a thickness of 166 µm, corres- concerning the painting. After the 1755 earth-
ponds to a layer of azurite (on the bonnet strip quake the church was subject to major works in
of the second female character), which required the main chapel although unfortunately those were
to be applied thick to achieve a good colour not described in detail. It is likely that during
saturation. those works the painting had been removed from
its place and treated carelessly because in 1768
The pigments were analyzed using several optical it was already described as in “state of oldness
and analytical techniques, namely OM, PLM, MT, and ineligibleness” [3].
XRF and FTIR. Seven pigments were identified:
azurite, charcoal, yellow ochre, vermilion, red In 1789-90, the HHM of Aldeia Galega hired the
ochre, lead white and a brown which is most likely carpenter Eusébio dos Santos and the painter-gil-
raw umber [1]. der Matias Gomes Neto to perform works in the
main altar [3]. Considered useless, it is most likely
The excellent cohesion and adhesion between the that the painting was used at this precise time
paint layers confirms that the execution was correct. as a work support judging by the long incisions
Thomás Luis, however, applied paint layers and ve- (vertical, horizontals and even semi-circular from
latura in certain areas which, with the inevitable compass) that are present on the painting’s sur-
natural aging of the materials, allow the observa- face. The almost definitive decadence of the paint-
tion of the underlying pentimenti. This is an authen- ing occurred probably in 1799 when the painter
ticity factor in the painting. Manuel António Araújo was hired to paint a new
e-conser vation 81
FILIPA RAPOSO CORDEIRO
probably suggested to the 1998 technicians the interdisciplinary meeting, is, like leaching, caused by an in-
adequate cleaning. The main difference is that while in the
existence of an older painting. Thus, they opted leaching a partial loss of the paint layer occurs, in transpo-
to sacrifice “three paint layers” to uncover the sition the paint layer is displaced to a neighboring area. After
supposedly older painting. The criteria of inter- the swelling of the paint layer in response to an inadequate
solvent, it can occasionally be transposed mechanically form
vention were not applied in thoughtful and critical its original place to a nearest area causing alteration of the
manner, without prior knowledge of the technique physical and optical characteristics of the painting.
82 e-conser vation
THE VISITATION, BY THOMÁS LUIS
Figure 6. Panel after the conservation and restoration intervention from 1998.
e-conser vation 83
FILIPA RAPOSO CORDEIRO
Figures 7-9. Details of the paint layer in poor condition with leaching and visible underlying paint strata, including pentimenti
on the Virgin’s hand and the band and tunic of Saint Isabel.
Figures 10-15. Details of the Visitation. Pictorial layer in poor conservation condition.
Note the transpositions in the brim and crown of the Virgin’s hat and the mantle of Santa Isabel, and varnish and white paint
scattered residues.
Figures 16-17. Detail from the same area of the tunic and mantle of the Virgin under normal light and UV radiation. Scattered
varnish residues can be observed over the original paint layer in heterogeneously cleaned areas and in areas where the varnish
was not removed, that have the same fluoresce under UV radiation.
84 e-conser vation
THE VISITATION, BY THOMÁS LUIS
eight new bars for the panel stabilization. It also paint layer (ground, imprimatura, paint layer
included a punctual “restoration” [10] of the sup- and varnish).
port and paint layer, namely the filling of the gaps The original metallic elements were removed where
with plywood and monochromatic retouching with possible and kept for future reference. The remain-
a light pink tone [11] possibly for readability of ing nails were treated in three steps: cleaning (re-
the painting (aesthetic intervention). The clean- moval of oxidation products), stabilization and
ing was not completed. The painting remained for protection.
half a decade with varnish to be removed.
The leaching, transpositions and varnish residues The treatment of the support aimed to complete
were only detected above the “white line” left be- the previous intervention and to return the ori-
tween the cleaned areas (that had been painted ginal rectangular form to the painting. The con-
in white) and the areas that were hidden in the servation intervention included the following
tribune structure, thus without white paint, and steps: removal of the plywood, cleaning, board
that were in good conservation state except for levelling, placement of two missing reinforcement
the oxidized varnish. bars and substitution of five reinforcement bars
by two, filling of gaps (total lacunas and some
The chronological analysis of the Visitation allowed partial lacunas), punctual consolidation, and in-
to detect that the pathologies were caused by three secticide application on the back of the panel (pre-
different degradation factors: environmental, bio- ventive action). Only one step of restoration was
logical and anthropological. The last factor was done to the new support fillings, namely the in-
the main one and the most dangerous of all. painting with a brown monochromatic glaze tone
The second and last intervention, herein described similar to the original wood.
in detail, was performed between 2003 and 2004.
Three stages of conservation were performed for
Scientific Treatment the paint layer - cleaning, filling and protection,
and one of restoration - inpainting.
Because of the magnitude of the problems the
painting presented, the Visitation was subjected The cleaning was performed in five different stages
to a complex, lengthy, rigorous and interdiscip- and with equipment and products according to
linary study and conservation-restoration inter- the type of material to remove. The stages were:
vention that involved thee different specialists: superficial cleaning and removal of transpositions,
the conservator-restorer, a chemical engineer and white paint residues, resinous varnish residues and
an art historian. Unfortunately this practice which retouching with punctual monochromatic light
is fundamental for the proper preservation of the pink overpaint. This paper refers to the criteria
cultural property authenticity is still rare in Por- and results of the removal of three alteration pro-
tugal. The treatment based on scientific criteria ducts: transpositions, retouching with punctual
was divided into two phases: a direct intervention overpaint and varnish.
(curative conservation and restoration) and an
indirect intervention (preventive conservation). The transpositions, the monochromatic retouch-
ing and overpainting altered the painting reading
The first phase focused on three groups of ma- and raised the problematic of de-restoration [12]
terials: metallic elements, wood support and which requires the comparison of the technical,
e-conser vation 85
FILIPA RAPOSO CORDEIRO
Figures 18-19. Same detail of the Visitation under normal light and IR radiation.
aesthetic and documental (or historic) character In 1563 the Council of Trent defined the standards
of those interventions. In this sense, one of the of religious iconography. Saint Charles Borromeo,
problems of these interventions is discussed in who played a decisive role in that council, mentions
this study. in his book Instructiones fabricae et supellectilis
ecclesiasticae (1577) that the saints should be
Behind the Virgin’s head there is an object that distinguished by a “halo” [1]. At the same time,
could not be clearly identified. That area may be Cardinal Paleotti recommended in his Discorso
seen in detail in figure 18. The object, most likely intorno alle imagini sacre e profane (1582) that
a column, could have been painted to hide the the sacred character should be represented by
hat pentimento, could be an overpaint or a rare symbols that believers were used to observe [1].
degradation. Could the hat, in the place of the The painter Francisco Pacheco, contemporary of
frequent halo, be an innovative attribute used by Thomás Luis, writes in his treaty Arte de la Pintura
Thomás Luis on the Visitation? (1649) that the Virgin from the Visitation should
Although no underdrawing was detected on the be represented with a “hat” [1] although there is
entire painting surface, the IR reflectography no mention of the halo.
highlighted the existence a thin hat crown, not It is possible that Thomás Luis was influenced by
visible at naked eye, and that was transformed Pacheco’s treaty. However, Thomás didn’t follow
by the painter into a much larger crown (figures the counter-reformist rules and, instead of the
18-19). halo around the Virgin’s head, he placed an inno-
vative hat. The Visitation by Thomás Luis might be
The Visitation Virgin’s peregrine hat resembles the oldest example of mannerist’s painting that
that of Raimondi's engraving Flight into Egypt, used only this attribute.
which was based on an engraving by Dürer, and The column that covered the hat crown (figure 18)
another painted by Tomás Luis with a different was indeed a transposition. This pathology was
iconographic value, profane and playful, in the also visible in other areas of the painting such as
fresco’s ceiling at the Évora Palace Counts of Basto, on the hat’s brim and on the mantle of Saint Isabel.
Eugénio de Almeida Foundation. The transpositions’ craquelure in the three areas
86 e-conser vation
THE VISITATION, BY THOMÁS LUIS
previously mentioned did not match the aged cra- After testing different methods and products, it
quelure in the direction of the wood grain of the was found that it is possible to remove the trans-
final paint layer. The presence of this alteration positions without leaving marks. In fact, although
modified the aesthetic and historical reading of the transposed painting had a reasonable cohe-
the work, confusing the observer. sion, it had a weak adherence to the original paint
layer which presented a high resistance to mech-
To undertake any conservation intervention it is anical removal. The removal of the transpositions
fundamental to consider always the need and the was thus performed with the help of a scalpel and
feasibility of a curative treatment without forget- a magnifying glass and a binary solution of non
ting that there are no standard treatments. When polar organic solvents used solely for visualiza-
tests do not show effective results that respect, tion. The varnish residues, subjacent to the trans-
in the best interest of the object and to help pre- position, were removed with solvent gel.
serve its authenticity, more experienced profes- This way it was possible to save precious details,
sionals should be consulted or the task should be previously hidden under the transpositions, such
postponed until future technologic advances are as the Virgin’s golden hair locks and Her hat knot
available. According to Cesare Brandi each art- and cord (figures 20 and 21).
work is unique (‘unicum’), cultural property can
never be compensated for a unfortunate conser- Apparently, the monochromatic pink retouching
vation work [13]. was stable and there was no risk for the physical
Figure 20. Detail of the Virgin before treatment. Note the hori- Figure 21. Detail of the Virgin after treatment. Note the knot
zontal, vertical and oblique directions from the transpositions of the virgin hat’s cord that before was almost imperceptible
in the column, hat, veil, hair and ear of the Virgin. among the lacunas, transpositions and varnish residues.
e-conser vation 87
FILIPA RAPOSO CORDEIRO
or chemical integrity of the painting. However, in was applied in the previous intervention was pro-
ranking light it was seen that it covered punctually gressively removed using a binary solution of non
the original paint layer altering its aesthetic read- polar organic solvents, leaving untouched the
ing in areas such as the sky and the few cloud traces. original paint layer (figures 23 and 24).
The 30 mm thick light pink overpaint was analyzed
by MT and FTIR and was made of titanium white and The red-brown varnish layer was removed with the
an oil-based binder (figure 22). The overpaint that help of a carefully selected solvent gel, due to its
Figure 22. FTIR spectrum of the light pink overpaint. Calcium carbonate, organic black (?) and oil were detected.
Figure 23. Detail of the sky before conservation treatment Figure 24. Detail of the sky during the removal of the
(2003-2004). The lacunas borders from the original paint retouching and punctual overpaint:
layer (arrow) can be observed, as well as the support without 1- Progressive removal of the pink inpainting over the support;
paint layer (X), hidden by inpainting and pink overpaint 2- Pink overpaint over the original sky; 3- Varnish under
(ranking light). overpaint.
88 e-conser vation
THE VISITATION, BY THOMÁS LUIS
advantages, such as the control of the solvent’s the inpainting in that area because it confirmed
action by its limited area of actuation and its re- the existence of an underlying green layer.
duced toxicity. It was prepared with a ternary mix- In the inferior area of Saint Isabel orange tunic
ture of solvents, two organic and one hydrophilic. the inpainting was also based on the scientific
The level of cleaning was attained using UV radi- analysis results. The cross-section analysis revealed
ation. that the beige drapery that crosses the orange
tunic of Saint Isabel corresponds to a hesitation
Since the painting had large lacunas that disturbed of the painter with two overlying paint layers,
its aesthetic reading, the interdisciplinary team orange over pink, almost removed in a previous
considered several options for inpainting: general inadequate cleaning. The mentioned layers are
inpainting; punctual inpainting in the central ver- based on the same organic and inorganic pigments
tical area; re-restoration of the upper left corner and mediums (oil and egg) as in the other seven
(already retouched in 1998); or minimum inter- samples aforementioned. These data allowed us
vention, leaving them in the tone of aged wood. to reintegrate the Saint Isabel orange tunic with
It was decided that the large gaps of the paint layer regard to the original technique and to the painter's
should not be reintegrated and that new additions intentions (figures 30 and 31).
should be exclusively integrated with a brown tone,
as previously referred. This way, the conservator- In an interdisciplinary meeting between the spe-
restorer does not take the role of the artist, nor cialists it was also decided not to cover the penti-
is he/she inventing new figurative forms that never mento visible in the Virgin’s right hand in order to
existed as sometimes still happens, originating allow future studies and to make the public aware
ambiguous historical, aesthetic and iconographic of the dangers of uncritical cleanings.
readings. The pentimento seen because of the materials na-
tural aging, which increases transparency in the
Given this criterion, it was preceded to the filling top paint layers and leaves the underlayers visible,
of gaps within the limits of the existent drawing such as in the face of the second character (fig-
with a water-based material fully compatible with ure 12), was not covered due to its importance as
the original ones, being stable and reversible. It authenticity elements – 'less is more'. The Visi-
was also decided to perform a restoration stage tation is not less valuable if it shows signs of patina.
by selezione cromatica inpainting with the objec- The inpainting done on selected areas where ori-
tive to facilitate the comprehension of the frag- ginal paint layers were lost or abraded, was per-
mented work. First, tempera based tones were ap- formed with carefully selected materials - compa-
plied and later glazes with pigments in an acrylic tible, reversible and stable -, and taking into ac-
binder. Between these two stages of inpainting a count the environmental conditions of the church.
thin layer of varnish (cyclohexanone) was applied
to act as barrier against external degradation agents. In the second phase of the treatment, preventive
The inpainting was performed based on laboratorial conservation guidelines were offered to HHM on
analysis and according to traces of the original a voluntary basis concerning the light, relative
paint layer. humidity, fire, water, accidental impacts and vi-
brations. The phase also included a project for the
The cross-section analysis of the Virgin’s tunic (chest proper placement and exhibiting of the work on
area) was fundamental for the understanding of a wooden structure [3].
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FILIPA RAPOSO CORDEIRO
Figure 30. General view of the painting during conservation treatment (filling of lacunas).
90 e-conser vation
THE VISITATION, BY THOMÁS LUIS
Figure 31. General view of the painting after the conservation treatment.
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FILIPA RAPOSO CORDEIRO
92 e-conser vation
THE VISITATION, BY THOMÁS LUIS
da Misericórdia, Edições Colibri/ Câmara Municipal teus d’Art et d’Arqueologie de Formation Universi-
do Montijo, Lisboa, 2005 taire, Paris, 1995, pp. 9 -16
[4] J. Vasconcellos, Identificação de Madeiras pelos [13] C. Brandi, Teoria del Restauro, Giulio Einaudi
seus Caracteres Macroscópicos, Agros, Instituto Editore, Torino, 1977
Superior de Agronomia, Lisboa, 1929
[14] J. M. A. P. Costa, “Estudos Cromáticos nas Inter-
[5] AHMM, Maço de avulsos da Mizª, sécs. XVI-XVII, in venções de Conservação em Centros Históricos”,
V. Serrão, O Maneirismo e o Estatuto Social dos LNEC/University of Évora, PhD thesis, Évora, 1999
Pintores Portugueses, Ed. Imprensa Nacional Casa
da Moeda, Lisboa, 1983 [15] A. I. Seruya (Dir.), Cadernos de Conservação e
Restauro, Ano 1, nº 2, Instituto Português de
[6] I. Ribeiro, P. Sousa, F. R. Cordeiro, Visitação da Conservação e Restauro, Lisboa, 2001
Virgem, IMC IP. Archives, José de Figueiredo
Laboratory, Lisboa, 2004, unpublished report
e-conser vation 93
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No. 13, February 2010 LICENCE
ISSN: 1646-9283
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Photo by Filipa Raposo Cordeiro,
Detail of the painting The Visitation Attribution. You must attribute the work in the manner
of the Blessed Virgin Mary, by Thomás Luis specified by our licence, best by linking to CC website.
Executive Editor
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