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e-<strong>conservation</strong><br />
<strong>the</strong> <strong>online</strong> magazine No. <strong>16</strong>, October 2010
Contemporary Art Wall Clock by PaulaArt
The Gap in Conservation<br />
In recent conversations with fresh PhD graduates I have unfortunately noticed an increasing tendency:<br />
towards unemployment. To a conservator-restorer or a <strong>conservation</strong>-scientist, a PhD is synonym of<br />
higher specialisation, also a better job and a higher salary. At least that is <strong>the</strong> illusion that exists<br />
before one obtains it.<br />
For some, a PhD is a life goal worthy of achievement. For o<strong>the</strong>rs, it is merely a means to reach an objective,<br />
usually to ensure a university position. Independently of <strong>the</strong> reason why one does it, it is true that <strong>the</strong>re is<br />
a life before <strong>the</strong> PhD and ano<strong>the</strong>r after it. More and more, life before <strong>the</strong> PhD is full of expectations<br />
while life after it is quite different than one would have imagined, often in a very disappointing way.<br />
This is not a problem restricted to <strong>conservation</strong>, but it's becoming more and more accentuated<br />
because PhDs in our field are a fairly recent thing, most being less than 10 years old. Despite that,<br />
PhD programs seem to create problems instead of filling <strong>the</strong> gaps in our training or solving <strong>the</strong><br />
problems in <strong>the</strong> field of cultural heritage.<br />
Part of <strong>the</strong> problem is in <strong>the</strong> academic sphere itself: after all <strong>the</strong>re is definitely a market for training<br />
PhD students. It's academic economics and it’s all about demand and supply. When a university<br />
creates a PhD program it attracts more students, increases funds and raises status. After all, it is a<br />
business like any o<strong>the</strong>r and more than ever universities are competing with one ano<strong>the</strong>r. But <strong>the</strong><br />
bitter truth is that Academia doesn't really care about <strong>the</strong>ir students' career prospects. The goal is to<br />
have lots of students in order to help support <strong>the</strong>ir facilities and <strong>the</strong>ir staff, staff which are required<br />
to have a PhD. Even if you do eventually get a university position, you must bring in a new generation<br />
of students to keep afloat <strong>the</strong> department and subsequently your own job, perpetuating <strong>the</strong> system<br />
and thus, <strong>the</strong> problem.<br />
In <strong>the</strong> last decade several PhD courses have appeared in European Universities, in some countries<br />
more than o<strong>the</strong>rs, in order to offer <strong>the</strong> three different levels of European tertiary education and to<br />
be one of <strong>the</strong> exclusive “few” to do so. When PhD students graduate some are absorbed by Academia<br />
to complement <strong>the</strong>ir staff, normally as post-d<strong>oct</strong>orates with scholarships, while o<strong>the</strong>rs are left “on<br />
<strong>the</strong>ir own”. At <strong>the</strong> end of <strong>the</strong> day, PhDs are low-paid and treated as merely temporary workers during<br />
<strong>the</strong> years <strong>the</strong>y spend training for faculty positions that are virtually inexistent.<br />
What is <strong>the</strong> result of <strong>the</strong> current scenario Unturn any stone and you will find many unemployed<br />
D<strong>oct</strong>orate graduates, o<strong>the</strong>rs surviving on public funding, or going from post-doc to post-doc<br />
anywhere <strong>the</strong>y can. Many resigning <strong>the</strong>mselves and settle for lower job positions, which in <strong>the</strong> present<br />
economical climate are also hard to find.<br />
Opposed to Academia, o<strong>the</strong>r fields have <strong>the</strong> Industry which absorbs a great part of PhD graduates.<br />
However, this is practically non-existent in <strong>conservation</strong> and clearly insufficient to absorb many of<br />
<strong>the</strong> hundreds of highly skilled D<strong>oct</strong>ors that are being trained every year.<br />
On <strong>the</strong> o<strong>the</strong>r side, politics are a great part of <strong>the</strong> problem. When government funding is common<br />
knowledge and widely available, students often consider pursuing a PhD because it ensures an<br />
income for at least a few years. But in fact this is all part of a bigger scheme that starts by attracting<br />
students to undergraduate <strong>conservation</strong>-restoration courses, often lured in by <strong>the</strong> highly publicized<br />
popular idea that if <strong>the</strong>re is cultural heritage in need of <strong>conservation</strong> it is because <strong>the</strong>re's a lack of<br />
professionals to conserve or restore it. Far from <strong>the</strong> truth, <strong>the</strong>se new generations, attracted by a real<br />
interest in heritage, will later join <strong>the</strong> increasingly large mass of skilful but unemployed professionals.<br />
This is equally true for <strong>conservation</strong>-scientists who often specialize in heritage during <strong>the</strong>ir PhD<br />
<strong>the</strong>sis. It may be a much needed area of input, but while <strong>the</strong> training programs are increasing I don't<br />
see a higher number of positions being filled or even on offer for that matter.<br />
When will this paradigm change Is it likely that this will only happen when <strong>the</strong> system is already<br />
near a state of absolute collapse Right now, it simply doesn't pay to get a PhD.<br />
editorial<br />
Rui Bordalo<br />
Editor-in-Chief<br />
e-<strong>conservation</strong>
PROFILE<br />
Location<br />
The Metropolitan Museum of Art<br />
Exhibition<br />
Picasso in The Metropolitan Museum of Art<br />
Time<br />
April 27, 2010 – August 15, 2010<br />
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Optium combines <strong>the</strong> best of both worlds, anti-reflective safety glass and UV filtering acrylic, in<br />
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Pablo Picasso, At <strong>the</strong> Lapin Agile, 1905, The Walter H. and Leonore Annenberg Collection, Gift of<br />
Walter H. and Leonore Annenberg, 1992, Bequest of Walter H. Annenberg, 2002 (1992.391); The Actor,<br />
1904–05, Gift of Thelma Chrysler Foy, 1952 (52.175); Saltimbanque in Profile, 1905, Bequest of Scofield<br />
Thayer, 1982 (1984.433.269). All works from The Metropolitan Museum of Art. © 2010 Estate of Pablo<br />
Picasso / Artists Rights Society (ARS), New York. Photo: Don Pollard.<br />
Tru Vue ® , <strong>the</strong> Tru Vue logo, Optium ® , Optium Acrylic ® and Optium Museum Acrylic ® are registered<br />
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© 2010 Copyright Tru Vue, Inc. All rights reserved.<br />
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INDEX<br />
NEWS & VIEWS 6<br />
Pot Healer, I Need You<br />
By Daniel Cull<br />
9<br />
REVIEWS<br />
SEM and Microanalysis in <strong>the</strong> Study of Historical Technology,<br />
Materials and Conservation<br />
September 9-10, 2010, London, UK<br />
Review by Ana Bidarra<br />
13<br />
Western Association for Art Conservation (WAAC) Annual Meeting<br />
September 15 - 18, 2010, Portland, Oregon<br />
Review by Daniel Cull<br />
17<br />
NEWS<br />
Devastating Flood in Ladakh, India<br />
A Support Program by Tibet Heritage Fund<br />
By Andre Alexander<br />
EVENTS<br />
20<br />
UPCOMING EVENTS<br />
November 2010<br />
ARTICLES<br />
24<br />
Identification of Ivory Book Covers and Comparison to Ivory<br />
Portrait Miniatures<br />
By Josie Wornoff<br />
39<br />
Microbial Study of Egyptian Mummies<br />
An Assessment of Enzyme Activity, Fungicides and Some<br />
Mummification Materials for <strong>the</strong> Inhibition of Microbial Deterioration<br />
by Abdelrazek Elnaggar, Ahmed Sahab, Siham Ismail, Gamal Mahgoub and<br />
Mohammed Abdelhady<br />
CASE STUDY<br />
50<br />
Study of <strong>the</strong> painting Virgin Mary and Child with <strong>the</strong> Infant<br />
St. John <strong>the</strong> Baptist<br />
The Hidden Flora of Leonardo da Vinci’s Painting Workshop<br />
By Miklós Szentkirályi<br />
60<br />
"The Annunciation" by Cola Petruccioli (1380)<br />
The Restoration of <strong>the</strong> Transferred Wall Painting<br />
By Ildikó Jeszeniczky<br />
e-<strong>conservation</strong><br />
5
news & views<br />
POT HEALER, I NEED YOU<br />
By Daniel Cull<br />
"I like to build universes that do fall apart [...] objects, customs, habits, and ways of life<br />
must perish so that <strong>the</strong> au<strong>the</strong>ntic human being can live." (Philip K. Dick).[1]<br />
Conservators, and <strong>conservation</strong>, appear<br />
in numerous fictional books,<br />
films, and TV shows [2], I'd like to<br />
suggest that studying fiction is a<br />
fascinating, albeit underutilized,<br />
approach to a range of <strong>conservation</strong><br />
studies, not least because our portrayal<br />
within <strong>the</strong> fictional realm feeds<br />
directly into <strong>the</strong> public consciousness,<br />
and perception, of our profession. I<br />
recently read <strong>the</strong> Philip K. Dick (PKD)<br />
novel "Galactic Pot Healer" (GPH)<br />
[3], and was struck by how it can be<br />
read in contrast with contemporary<br />
museum based futurism, and as a<br />
work of <strong>conservation</strong> (pot-healing)<br />
<strong>the</strong>ory. Museum futurists predict that<br />
a continuing desire for '<strong>the</strong> real' will<br />
maintain a central significance in <strong>the</strong><br />
museum project for <strong>conservation</strong> [4].<br />
PKD, however, offers a different prediction.<br />
In GPH our protagonist, a<br />
healer of pots named Joe Fernwright, Book cover. Photo by Chris Drumm, Some rights reserved.<br />
inhabits a world in which ceramics<br />
have been replaced by plastic, and In what's called 'soft' science fiction it is <strong>the</strong> story<br />
where all <strong>the</strong> ceramics in museums that holds more value than scientific gizmo's.<br />
have been ‘healed’. PKD reveals <strong>the</strong> However, as scientists, it can be fun to consider<br />
utopic vision of classical <strong>conservation</strong><br />
<strong>the</strong>ory to be a dystopia in which our fictional selves have dreamt up; and consider<br />
what improvements to our field <strong>the</strong> writers of<br />
conservators are all but obsolete, whe<strong>the</strong>r <strong>the</strong>y could, as with <strong>the</strong> needle-less injection<br />
from Star Trek, become reality. GPH fea-<br />
and Joe passes his time playing<br />
"<strong>the</strong> game" and craving illegal cigarettes.<br />
vation scientists, including; self focusing<br />
tures several intriguing challenges for consermagni-<br />
e-<strong>conservation</strong>
VIEWS<br />
fying glasses, heat needles that bond <strong>the</strong> ceramic<br />
on <strong>the</strong> molecular level (I'm pretty sure that's<br />
non-reversible!), and replacing <strong>the</strong> ceramic conservators<br />
sand-box with an anti-gravity machine<br />
and storage boxes that if dropped gently slow<br />
<strong>the</strong>ir rate of descent before landing safely on<br />
<strong>the</strong> ground. Notwithstanding such leaps in technology,<br />
I suspect conservators can take more<br />
from <strong>the</strong> story than <strong>the</strong>se tools. Back in <strong>the</strong> Communal<br />
North American Citizen's Republic, Joe's<br />
routine existence is interrupted when he receives<br />
a message: "Pot healer, I need you. And I will pay"<br />
[3, p.12]. As his curiosity is awakened he discovers<br />
that on ano<strong>the</strong>r planet <strong>the</strong> Glimmung "intended<br />
to raise <strong>the</strong> ancient ca<strong>the</strong>dral Heldscalla, and to<br />
do so [...] needed a wide span of skills" [3, p. 25];<br />
amongst <strong>the</strong>m a pot-healer. As <strong>the</strong> plot develops<br />
Joe undergoes a variety of adventures and struggles,<br />
he gives all his savings away, has a run in<br />
with <strong>the</strong> Quietude Authority Police, travels to a<br />
different planet, falls in love, challenges <strong>the</strong> apparent<br />
precognition of <strong>the</strong> 'Book of <strong>the</strong> Kalends',<br />
and undergoes an epic struggle to raise <strong>the</strong> ca<strong>the</strong>dral,<br />
before finally coming to a decision regarding<br />
his future as a pot-healer. As a conservator it is<br />
possible to read Joe's personal and spiritually<br />
gnostic journey through <strong>the</strong> prism of investigative<br />
cleaning, <strong>the</strong> methodical uncovering of layers to<br />
reveal new realities below. As our reality becomes<br />
increasingly fluid and fleeting <strong>the</strong> book provides<br />
an intriguing metaphor for contemporary readings<br />
of au<strong>the</strong>nticity.<br />
The final section of <strong>the</strong> novel offers an interesting<br />
challenge to museum futurists, and <strong>conservation</strong><br />
<strong>the</strong>orists. PKD posits a post-enlightenment,<br />
experiential, reading of material culture, which<br />
contrasts with how <strong>the</strong> <strong>conservation</strong> object has<br />
traditionally been seen as "an object of <strong>the</strong> Enlightenment,<br />
an object that can be known through<br />
scientific analysis" [5]. In our world such distinctions<br />
are already becoming blurred with <strong>the</strong> advent<br />
of replicas, copies, fakes, forgeries, virtual<br />
collections, and simulations. Moreover, developments<br />
in ethnographic and contemporary art <strong>conservation</strong><br />
have led <strong>the</strong> <strong>conservation</strong> process to<br />
increasingly be concerned with meanings, and<br />
au<strong>the</strong>nticity, and not solely <strong>the</strong> materiality of<br />
objects. It has been suggested we "confront <strong>the</strong><br />
thingness of objects when <strong>the</strong>y stop working for<br />
us [...] when <strong>the</strong>ir flow within <strong>the</strong> circuits of production<br />
and distribution, consumption and exhibition,<br />
has been arrested, however momentarily"<br />
[6]. This being <strong>the</strong> case <strong>the</strong> focus of <strong>conservation</strong><br />
cannot solely be <strong>the</strong> object, but, also must be <strong>the</strong><br />
mechanism of its flow. By making his first pot Joe<br />
seeks to (re)create his traditional material culture,<br />
and satisfy his desire for cultural meaning.<br />
Perhaps too this illustrates <strong>the</strong> authors own approach<br />
to personal and cultural au<strong>the</strong>nticity, creating<br />
worlds in which things do fall apart; worlds<br />
in which maybe <strong>conservation</strong> does, after all, have<br />
a role to play:<br />
“He appraised what he had done, and, within it,<br />
what he would do, what later pots would be like,<br />
<strong>the</strong> future of <strong>the</strong>m lying before him. And his justification,<br />
in a sense, for leaving Glimmung and<br />
all <strong>the</strong> o<strong>the</strong>rs. Mali, <strong>the</strong> most of all. Mali whom<br />
he loved.<br />
The pot was awful.” [3, p. 144]<br />
Notes:<br />
1. Quoted in: Vincent Bzdek. Philip K. Dick's<br />
Future is Now. The Washington Post, Sunday<br />
July 28, 2002, URL.<br />
2. Rebecca A. Rushfield. Conservation Fiction<br />
(or Fiction that Acknowledges <strong>the</strong> Existence<br />
of Conservation and Conservators), URL, and<br />
Canadian Association for Conservation.<br />
Conservation in Film and Fiction, URL.<br />
e-<strong>conservation</strong> 7
VIEWS<br />
3. Philip K. Dick, Galactic Pot-healer, Berkley,<br />
1969.<br />
4. Center for <strong>the</strong> Future of Museums, Museums<br />
and Society 2034: Trends and Potential Futures.<br />
Version 1.0. Center for <strong>the</strong> Future of<br />
Museums/American Association of Museums.<br />
December 2008, URL [pdf].<br />
5. Pip Laurenson. Au<strong>the</strong>nticity, Change and Loss<br />
in <strong>the</strong> Conservation of Time-Based Media Installations.<br />
Tate Papers. Autumn 2006, URL.<br />
6. Bill Brown. Thing Theory. Critical Inquiry, Vol.<br />
28, No. 1. Things (Autumn, 2001). pp. 4.<br />
The News section is publishing diverse<br />
information on cultural heritage topics, such<br />
as on-site <strong>conservation</strong> projects reports,<br />
conferences, lectures, talks or workshops<br />
reviews, but also course reviews and any o<strong>the</strong>r<br />
kind of appropriate announcements. If you are<br />
involved in interesting projects and you want<br />
to share your experience with everybody else,<br />
please send us your news or announcements.<br />
For more details, such as deadlines and<br />
publication guidelines, please visit<br />
www.e-<strong>conservation</strong>line.com<br />
DANIEL CULL<br />
Conservator<br />
The Musical Instrument Museum<br />
Daniel Cull is from <strong>the</strong> West Country of <strong>the</strong> British<br />
Isles. He trained at <strong>the</strong> Institute of Archaeology,<br />
University College London, where he received a<br />
BSc in Archaeology, MA in Principles of <strong>conservation</strong>,<br />
and an MSc in Conservation for Archaeology<br />
and Museums. He was later awarded an Andrew<br />
W. Mellon Fellowship at <strong>the</strong> National Museum of<br />
<strong>the</strong> American Indian/Smithsonian Institution,<br />
Washington, DC. He currently works as a conservator<br />
at <strong>the</strong> Musical Instrument Museum and as<br />
a collaborator with e-<strong>conservation</strong> magazine.<br />
Website: http://dancull.wordpress.com<br />
Contact: daniel.cull@<strong>the</strong>mim.org<br />
8 e-<strong>conservation</strong>
REVIEWS<br />
SEM AND MICROANALYSIS IN THE STUDY OF<br />
HISTORICAL TECHNOLOGY, MATERIALS AND CONSERVATION<br />
Review by Ana Bidarra<br />
September 9-10, 2010<br />
London, UK<br />
Organisers:<br />
The British Museum and<br />
Hitachi High Technologies Europe<br />
http://www.britishmuseum.org/...<br />
On 9 th and 10 th September 2010, <strong>the</strong> Department<br />
of Conservation and Scientific Research at <strong>the</strong><br />
British Museum, in association with Hitachi High<br />
Technologies Europe, hosted a conference on <strong>the</strong><br />
application of scanning electron microscopy and<br />
microanalysis (SEM-EDX) to <strong>the</strong> study of materials,<br />
manufacturing methods and deterioration processes<br />
of objects from ancient to contemporary<br />
cultures. The conference was attended by over<br />
150 delegates representing 22 countries (including<br />
North, Central and South America, China,<br />
Japan, Iran and most European countries). There<br />
were 28 oral presentations and 45 posters divided<br />
in 2 sessions over <strong>the</strong> 2-days conference.<br />
The presentations focused on several areas of study,<br />
from broader applications of SEM and microanalysis<br />
techniques, to specific case studies, technological<br />
advances and limitations. The conference<br />
started with a presentation from Alexander Ball<br />
entitled How “non-destructive” is variable pressure<br />
SEM, introducing some basic concepts of<br />
variable pressure SEM focusing on <strong>the</strong> alterations<br />
caused by <strong>the</strong> technique due to <strong>the</strong> effects of rapid<br />
decompression, beam interactions between <strong>the</strong><br />
samples and imaging gas and <strong>the</strong> contamination<br />
from <strong>the</strong> vacuum system. These effects can cause<br />
cracking, contaminations, dehydration, radiation<br />
damages, etc. It was an alert call, particularly<br />
directed to <strong>the</strong> recent possibilities of analysing<br />
entire objects, since modern equipments have<br />
bigger vacuum chambers. The first session ended<br />
with two presentations on <strong>the</strong> study of parchment<br />
biodegradation and on <strong>the</strong> study of glass beads<br />
from urns found in 1970 in an excavation in Carthage,<br />
followed by <strong>the</strong> first poster session.<br />
The second session began with a practical approach<br />
on <strong>the</strong> use of SEM in <strong>the</strong> study of surface materials<br />
at high magnification. Ineke Joosten focused on<br />
<strong>the</strong> parameters that could influence <strong>the</strong> image such<br />
as scan rotation, magnification, beam voltage,<br />
type of detector and pressure in <strong>the</strong> vacuum chamber.<br />
In <strong>the</strong> second presentation, Caroline Cartwright<br />
introduced a very interesting application<br />
of SEM to <strong>the</strong> study of <strong>the</strong> organic cores from <strong>the</strong><br />
Iron Age Snettisham (Norfolk) torc hoard, from<br />
around 70 BC. The study added important new information<br />
regarding <strong>the</strong> manufacture of <strong>the</strong>se objects.<br />
The last session was on <strong>the</strong> study of <strong>the</strong> Bedford<br />
Lemere Collection, particularly <strong>the</strong> deterioration of<br />
glass plate negatives from mid to late 19 th century.<br />
e-<strong>conservation</strong> 9
REVIEWS<br />
The afternoon session focused on four different<br />
<strong>the</strong>mes: smalt pigment quantitative EDX analysis;<br />
medieval window flashed glass composition, structure<br />
and manufacturing processes; organic remains<br />
preserved by metal corrosion products;<br />
and a multi-analytical study of <strong>the</strong> pigments in<br />
17 th century Portuguese tiles (“azulejos”). The<br />
first presentation, by Marika Spring, introduced<br />
several examples of SEM-EDX analysis on smalt<br />
samples from a number of paintings in <strong>the</strong> National<br />
Gallery ranging in date and geographical<br />
origin. The variations in arsenic content as well<br />
as possible effects of arsenic on <strong>the</strong> properties<br />
of <strong>the</strong> glass were discussed. The effect of various<br />
factors such as pressure, beam gas and working<br />
distance on <strong>the</strong> degree of beam skirting and on<br />
quantitative analysis were also focused.<br />
The poster session continued during <strong>the</strong> tea break.<br />
In <strong>the</strong> last session of <strong>the</strong> day <strong>the</strong> speakers brought<br />
into discussion very distinct topics, such as <strong>the</strong><br />
investigation of medieval opaque glasses and<br />
enamels, analyses of chrome-yellow and chromeorange<br />
dyestuffs used for domestic and imported<br />
cotton fabrics “Touzan” (a vertically stripped Japanese<br />
fabric) in <strong>the</strong> 19 th century, and <strong>the</strong> study<br />
of inscriptions, filing and polishing marks on <strong>the</strong><br />
bronze weapons from <strong>the</strong> Qin Terracotta Army in<br />
China.<br />
The first day ended with a reception at <strong>the</strong> Addis<br />
Gallery, in <strong>the</strong> British Museum.<br />
The second day started with a presentation by<br />
Shirley Northover, focused on <strong>the</strong> application of<br />
electron backscattered diffraction (EBSD) in archaeology.<br />
EBSD patterns are characteristic of <strong>the</strong> structure<br />
and local crystallography orientation of <strong>the</strong><br />
material under <strong>the</strong> beam. By systematically collecting<br />
and analysing <strong>the</strong>se patterns, maps can<br />
be built up revealing <strong>the</strong> distribution of present<br />
phases, showing grain sizes and shapes, and giving<br />
“Quantitative EDX analysis of smalt pigment in <strong>the</strong> variable<br />
pressure SEM”, by Marika Spring.<br />
information on <strong>the</strong> deformation levels of <strong>the</strong> surface.<br />
Hector Lozano spoke on <strong>the</strong> re-discovery of<br />
Mexican fea<strong>the</strong>red textile, a very peculiar technique,<br />
of which only six known textiles still exist,<br />
all of <strong>the</strong>m from <strong>the</strong> 17 th and 18 th centuries. In<br />
this case SEM was used to identify <strong>the</strong> materials<br />
present in <strong>the</strong> fea<strong>the</strong>red yarns particularly <strong>the</strong><br />
identification of <strong>the</strong> birds from which <strong>the</strong> fea<strong>the</strong>rs<br />
were obtained. The next communication was<br />
on <strong>the</strong> study of raw materials used in <strong>the</strong> production<br />
of Chinese porcelain and stoneware bodies,<br />
and <strong>the</strong> last one of <strong>the</strong> session was on <strong>the</strong> role of<br />
SEM-based charcoal identification on reconstructing<br />
vegetation changes in <strong>the</strong> last 40,000 years in<br />
Western Cape (South Africa). The afternoon presentations<br />
were followed by <strong>the</strong> second poster session.<br />
The sixth session began with a presentation from<br />
Diane Johnson on <strong>the</strong> subsurface analysis by application<br />
of a focused ion beam scanning electron<br />
microscope (FIBSEM) to samples of geological<br />
(fossils and meteorites) and historical importance.<br />
Next, Alicia Perea talked on gold usage and<br />
<strong>the</strong> analysis of wear marks and/or deterioration in<br />
site condition of gold artefacts and how difficult<br />
it could be to differentiate one from <strong>the</strong> o<strong>the</strong>r.<br />
Carol Pottasch presented a study on a rediscovered<br />
Dutch painter, Adriaen Coorte (works dating from<br />
10 e-<strong>conservation</strong>
REVIEWS<br />
<strong>16</strong>83-1705) and <strong>the</strong> use of arsenic pigments in his<br />
still lifes. The last presentation – by Eddy Faber -<br />
focused on <strong>the</strong> study of Middle Minoan polychrome<br />
ware production and <strong>the</strong> relations between pottery<br />
production and <strong>the</strong> palaces, and how <strong>the</strong><br />
polychrome ware played an important role in <strong>the</strong><br />
(re)affirmation of both <strong>the</strong> potters and those who<br />
consume <strong>the</strong> craft goods as well as <strong>the</strong> different<br />
strategies for teaching and learning craft skills<br />
in middle Minoan society.<br />
After lunch <strong>the</strong> afternoon began with a communication<br />
on non-invasive sample preparation with<br />
cross-section polishing, followed by a presentation<br />
on <strong>the</strong> Viking filigree, granulation and tool<br />
mark analysis. Next was a presentation by Martina<br />
Raedel on <strong>the</strong> application of environmental<br />
scanning electron microscope (ESEM) equipped<br />
with EDX to <strong>the</strong> study of different types of materials<br />
such as gold mosaics and medieval church<br />
windows, but also to study <strong>the</strong> effectiveness of<br />
corrosion protection systems for historical iron<br />
and cast iron monuments and <strong>the</strong> microbial infestation<br />
of historical marble sculptures. The last<br />
communication focused on <strong>the</strong> study of pre-Columbian<br />
gold beads from Panama and was presented<br />
by Ainslie Harrison. Over 2000 beads were examined,<br />
including 223 beads from recent excavations<br />
in El Caño, from 2008 and 2009 field seasons. All<br />
of <strong>the</strong> beads were examined for type, evidence of<br />
manufacture, alloy composition, fabrications technique<br />
and shape. Specific features of interest,<br />
such as flanges, circumferential grooves, chisel<br />
marks and visible joins, were also noted for each<br />
bead. By correlating <strong>the</strong> analytical data and external<br />
features of <strong>the</strong>se beads, a larger picture of<br />
<strong>the</strong> bead manufacturing processes in pre-Columbian<br />
Panama was revealed.<br />
The conference ended with three presentations.<br />
Aviva Burnstock spoke about The use of SEM imaging<br />
techniques for examination of paintings, showing<br />
examples of <strong>the</strong> application of SEM for questions<br />
related to <strong>the</strong> surface and underlying material<br />
structure of paintings dating from <strong>the</strong> 14 th to <strong>the</strong><br />
20 th centuries. The examples focused in features<br />
such as surface whitening, efflorescence and<br />
changes in <strong>the</strong> surface that resulted from selected<br />
treatments. The second communication entitled<br />
Metallurgy through <strong>the</strong> eyes of <strong>the</strong> SEM, by Nigel<br />
Meeks, illustrated how SEM-EDX has been essential<br />
in revealing <strong>the</strong> materials, metallurgy, construction<br />
and finishing of antiquities, from <strong>the</strong><br />
earliest refining of gold in Lydia, to <strong>the</strong> production<br />
of complex multi-component jewellery in Europe<br />
and to <strong>the</strong> gold metallurgy of Central and<br />
South America. The last presentation was a review<br />
of <strong>the</strong> conference and on <strong>the</strong> future of SEM:<br />
“Current examination of organic remains preserved by metal<br />
corrosion products”, by Andrea Fischer.<br />
A view during <strong>the</strong> poster session.<br />
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FREE<br />
CONSERVATION<br />
“Inscriptions, filing and polishing marks on <strong>the</strong> bronze<br />
weapons from <strong>the</strong> Qin Terracotta Army in China”, by Xiuzhen<br />
Janice Li.<br />
RESOURCES<br />
SEM 2010, a synopsis and a look to future directions,<br />
by Chris Jones from Hitachi.<br />
During <strong>the</strong> two days conference <strong>the</strong> high standard<br />
on <strong>the</strong> selection of communications and posters<br />
was clear and it was possible to understand how<br />
broad <strong>the</strong> application of SEM and microanalysis<br />
techniques can be. The limitations of <strong>the</strong>se techniques<br />
were addressed as well as <strong>the</strong> progresses<br />
and <strong>the</strong> more recent applications and innovations<br />
in analysis and equipments.<br />
Art Conservation Research<br />
<strong>conservation</strong>research.blogspot.com<br />
Archetype Publications, in association with <strong>the</strong><br />
British Museum, will be publishing <strong>the</strong> conference<br />
proceedings.<br />
ANA BIDARRA<br />
Conservator-restorer<br />
Contact: anabidarra@portugalmail.com<br />
Ana Bidarra has a Degree in Conservation-Restoration<br />
and a Master Degree in GeoSciences on<br />
white structured pigments for restoration. Currently<br />
she is a PhD candidate researching <strong>the</strong><br />
compositional and technological aspects of gold<br />
leaf from Portuguese baroque altarpieces. She<br />
works as conservator-restorer in private practice<br />
since 1999.<br />
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WESTERN ASSOCIATION FOR ART CONSERVATION (WAAC)<br />
ANNUAL MEETING<br />
Review by Daniel Cull<br />
September 15 - 18, 2010<br />
Portland, Oregon<br />
http://cool.<strong>conservation</strong>-us.org/waac/<br />
The Western Association for Art Conservation<br />
(WAAC) recently held our annual meeting in <strong>the</strong><br />
city of Portland, Oregon. The meeting was sponsored<br />
by <strong>the</strong> University of Oregon (UO), and hosted<br />
by <strong>the</strong> UO White Stag Block, and <strong>the</strong> AIA/Center<br />
for Architecture. The conference was jam packed<br />
with events including: three days of lectures, an<br />
angels project with <strong>the</strong> Oregon Nikkei legacy Center,<br />
a workshop on Digital Imaging Techniques for<br />
Conservation and Education, presented by Cultural<br />
Heritage Imaging, a silent auction to benefit <strong>the</strong><br />
Metropolitan Youth Symphony, a tour of <strong>the</strong> Gamblin<br />
paint factory, and several receptions. There<br />
was barely time to see <strong>the</strong> sights of <strong>the</strong> city, or<br />
<strong>the</strong> Portland Art Museum which had graciously<br />
extended free entry to participants, and of course<br />
Powell's - possibly <strong>the</strong> world’s largest bookshop.<br />
I came away from Portland with a couple of new<br />
books, an awesome notebook from <strong>the</strong> silent auction,<br />
and a few new ideas and techniques to apply<br />
professionally.<br />
After opening addresses and announcements, Dr.<br />
Tami Lasseter-Clare gave <strong>the</strong> first lecture entitled<br />
'Uncovering Mysteries of a Chinese Burial Relic',<br />
demonstrating <strong>the</strong> use of a variety of analytical<br />
techniques (X-radiography, XRF, FTIR) to investigate<br />
<strong>the</strong> originality, and potential dates, of various<br />
parts of a presumed Han dynasty bronze Money<br />
Tree, from <strong>the</strong> collections of <strong>the</strong> Portland Art<br />
Museum. Marie Svoboda gave <strong>the</strong> second lecture<br />
entitled 'Exploring 19 th Century Restorations:<br />
<strong>the</strong> study of Four Apulian Vases from Berlin', this<br />
was one of my favourite lectures, covering an<br />
important topic in <strong>the</strong> <strong>conservation</strong> field; our<br />
own history. The lecture described a collaborative<br />
project between Berlin's Antikensammlung and<br />
LA's J. Paul Getty Museum to study and treat a<br />
group of ceramic artefacts. Part of this study shed<br />
light on <strong>the</strong> original conservator, and it was fun<br />
to see <strong>the</strong> research and experiments that went<br />
into discovering <strong>the</strong> methods and extent of his<br />
work; most intriguing was <strong>the</strong> use of fired clay<br />
blanks as a filling method. The presentation finished<br />
with <strong>the</strong> dilemma now faced by <strong>the</strong> conservators;<br />
to reveal <strong>the</strong> historical artefact or to retain<br />
<strong>the</strong> <strong>conservation</strong> work. I would argue that <strong>the</strong><br />
<strong>conservation</strong> evidence should be retained in at<br />
least some cases.<br />
After <strong>the</strong> break, Chris White gave an excellent<br />
talk on 'Brass and Wood Screws in American Furniture'.<br />
It was interesting to learn about <strong>the</strong> chronology<br />
of screw production as <strong>the</strong>y changed from<br />
all handmade screws prior to 1780 to modern style<br />
screws post 1845, into <strong>the</strong> standardization of<br />
screw in <strong>the</strong> late 19 th and early 20 th centuries.<br />
Chris also announced that Arlen Heginbotham at<br />
<strong>the</strong> Getty is developing an <strong>online</strong> database of<br />
screws and is looking for beta testers. In <strong>the</strong> next<br />
lecture William Hoffman presented 'Silver Tarnishing<br />
Properties of Gloves Used in Conservation',<br />
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using Oddy testing, Beilstein tests, Azide tests,<br />
as well as FTIR and ATR <strong>the</strong> potential to tarnish<br />
or transfer residue onto silver objects was measured.<br />
The results did not end up with a clear cut<br />
"best choice" glove, but demonstrated instead<br />
that in different ways each of <strong>the</strong> gloves had a<br />
negative effect. The WAAC business meeting was<br />
<strong>the</strong> final point of business prior to lunch.<br />
After lunch Kyle Jansson reviewed <strong>the</strong> current<br />
state of <strong>the</strong> cultural heritage field in a lecture<br />
entitled 'Finding Cures for <strong>the</strong> Common Heritage<br />
Flu'. He presented <strong>the</strong> findings of recent consultations,<br />
unfortunately I think he identified more illnesses<br />
than he did cures! Up next Jan Cavanaugh<br />
discussed 'Art Conservation at <strong>the</strong> Jordon Schnitzer<br />
Mueum of Art', describing how addressing environmental<br />
concerns during an expansion of <strong>the</strong> museum<br />
was required for grants funding to address<br />
<strong>the</strong> long term <strong>conservation</strong> efforts. After <strong>the</strong> break<br />
<strong>the</strong> final round of lectures for <strong>the</strong> day began, with<br />
Anya McDavis-Conway talking about 'The New Mexico<br />
History Museum: Before and After Opening'. I<br />
could totally relate to this, currently being involved<br />
in opening a museum myself. It was interesting<br />
to see <strong>the</strong> storage solutions that had been chosen,<br />
including aluminium pallets to keep objects off of<br />
<strong>the</strong> floor, and purpose built custom saddle mounts.<br />
Yosi Pozeilov’s 'iPad, a New Tool for Condition Reporting<br />
at LACMA', was a fun final lecture for <strong>the</strong><br />
day that outlined how <strong>the</strong> iPad could be utilized as<br />
a tool for <strong>conservation</strong>. Its major bonus is that it<br />
is truly handheld and simulates <strong>the</strong> methods that<br />
we use already.<br />
Yoonjo Lee opened <strong>the</strong> second day with 'Parafilm<br />
M Fills for a Mexican Lacquered Gourd vessel', this<br />
introduced me to an approach that I'd never even<br />
considered - although it was first published by<br />
Marianne Webb in 1998, brilliantly innovative and<br />
strikingly simple, just <strong>the</strong> sort of treatments I most<br />
admire. This was followed by ano<strong>the</strong>r fantastic<br />
The popular 'Crow with LED Eyes' from <strong>the</strong> silent auction<br />
looks out across <strong>the</strong> conference hall.<br />
Photo by Daniel Cull, Some rights reserved.<br />
paper from LACMA, this one entitled 'Nip, Tuck,<br />
and Fill: Producing Digitally Printed Textile Infills<br />
for a Group of Pre-Coumbian Textiles at LACMA',<br />
presented by Lynn Bathke, with a section by Yosi<br />
Pozeilov. During <strong>the</strong> break, examples of <strong>the</strong> printed<br />
fabric and photographs were available, I was<br />
totally excited by this application of photoshop<br />
to <strong>conservation</strong>. The printed fabrics were produced<br />
in collaboration with CadFabulous, an LA based<br />
company using a Mimaki TX4 dye-sublimation<br />
printer, and I can honestly say <strong>the</strong>y looked excellent.<br />
After <strong>the</strong> break, we were treated to two lectures<br />
concerning salt desalination; <strong>the</strong> first, 'Desalination<br />
of Archaeological Ceramics: Measuring Progress<br />
and Success' was presented by Chris White, in<br />
which he presented his work around a normalized<br />
rate equation for calculating <strong>the</strong> relative saltiness<br />
of objects and <strong>the</strong> progress of desalination. He<br />
outlined how current experimental results are<br />
used to define an end point of <strong>the</strong> treatment, at<br />
which an object is declared stable, but that we<br />
still don't have enough results to know what<br />
stable means. In <strong>the</strong> second paper, 'Detecting<br />
and Identifying Testing Salts in Desalination',<br />
Nancy Odegaard discussed <strong>the</strong> use of EM Quant<br />
test strips as a method for semi-quantitative determination<br />
of chlorides, nitrates, and sulfate<br />
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REVIEWS<br />
ions in <strong>the</strong> bath solutions. This appears to be a<br />
cheap and useful analytical method. The last paper<br />
in this session was by Linda Lin who discussed<br />
a 'Technical study and <strong>conservation</strong> of two Japanese<br />
masks: Investigating <strong>the</strong>ir attributes as a pair<br />
and stabilizing fragile matte paint', which treated<br />
us to several examples of <strong>the</strong>se fascinating masks.<br />
After lunch <strong>the</strong>re was one lecture, given by Chris<br />
Stavroudis on 'The Modular Cleaning Program in<br />
Practice Application to Acrylic Paintings', this is<br />
a computer program that assists (but does not<br />
lead) <strong>the</strong> conservator in formulating cleaning<br />
systems. The system was developed as an off shoot<br />
of Richard Wolbers gels cleaning project. I'm led<br />
to believe that <strong>the</strong>se systems are very effective,<br />
but, I have never had cause to use ei<strong>the</strong>r. The<br />
early finish was to allow a brilliant tour, and reception,<br />
at <strong>the</strong> Gamblin paint factory, led by Robert<br />
Gamblin who runs <strong>the</strong> '<strong>conservation</strong> colors'<br />
section of <strong>the</strong> company. It's always fascinating to<br />
see where <strong>the</strong> products we have on <strong>the</strong> shelves in<br />
our labs come from!<br />
The last day of lectures saw a change of venue, and<br />
focus. Art DeMuro began <strong>the</strong> day with 'White Stag<br />
Building Project' a discussion of <strong>the</strong> restoration<br />
of <strong>the</strong> building in which we had spent <strong>the</strong> last<br />
two days. It was fascinating to see how <strong>the</strong> beautiful<br />
building we had been meeting in had previously<br />
been a burnt out shell, <strong>the</strong> previous owner<br />
having attempted to burn it down to claim <strong>the</strong> insurance<br />
money. This project included clever reuses<br />
of unusable parts of <strong>the</strong> building as artwork,<br />
or unique furniture. The second paper of <strong>the</strong> day<br />
'Developing Art and Object Conservation Recommendations<br />
Compatible with Historic Interiors: A<br />
Case Study' was presented by Jil Johnson, and<br />
asked important questions about how we define<br />
Robert Gamblin giving a tour of <strong>the</strong> Gamblin Paint Factory.<br />
Photo by Daniel Cull, Some rights reserved.<br />
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<strong>the</strong> words we use, such as <strong>conservation</strong> and restoration,<br />
and how <strong>the</strong> different fields may use<br />
<strong>the</strong> same words, but with different emphasis and<br />
meaning. Next up was Tom Fuller who discussed<br />
<strong>the</strong> 'Conservation of Chinese Alters at Kam Wah<br />
Chung & Co.' .This lecture ran over, at <strong>the</strong> request<br />
of <strong>the</strong> audience, and <strong>the</strong>n a discussion ensued.<br />
This site seemed to be a favourite for many attendees,<br />
and <strong>the</strong> presentation was certainly a favourite<br />
of mine, and was probably most in-tune<br />
with <strong>the</strong> ethnographic approaches I most enjoy.<br />
After <strong>the</strong> break Brooke Masek gave a fascinating<br />
lecture entitled 'In Pursuit of <strong>the</strong> Ideal: The Restoration<br />
of <strong>the</strong> Sante-Chapelle', demonstrating<br />
how <strong>the</strong> restoration approach was both led, and<br />
influenced, <strong>the</strong> formation of French national identity.<br />
Exploring <strong>the</strong> 19 th Century ideals of restoration,<br />
and how <strong>the</strong>y were realized, or ignored, in<br />
reality by <strong>the</strong>ir practitioners. This was followed by<br />
Jonathan Fisher's discussion of 'The Putti Project:<br />
Conservation of Two Zinc Fountain Sculptures',<br />
which discussed <strong>the</strong> challenges faced in <strong>the</strong> <strong>conservation</strong><br />
of two sculptures that formed part of a<br />
water feature.<br />
After lunch, Dr. Tami Lasseter-Clare gave ano<strong>the</strong>r<br />
lecture, this time on 'Understanding Performance<br />
Properties and Limitations of Coatings for Metals'.<br />
This was an interesting lecture and raised <strong>the</strong> concern<br />
of how conservators might continue should<br />
products we use be banned, an issue we as a profession<br />
should really be considering more widely.<br />
The next paper was one of <strong>the</strong> most significant,<br />
in my opinion, of <strong>the</strong> whole conference. 'Breaking<br />
Through <strong>the</strong> Glass Ceiling: Exhibiting Art Under<br />
Natural Light at LACMA' was presented by Mark Gilberg,<br />
and co-authored with Charlotte Eng and Frank<br />
Preusser. The lecture presented a case study of <strong>the</strong><br />
successes and failures of a diffused natural lighting<br />
system, in a building designed by renowned<br />
architect Renzo Piano. The authors suggested,<br />
and I agree, that natural lighting is becoming<br />
more common in <strong>the</strong> museum environment, and it<br />
is imperative that conservators begin to share<br />
<strong>the</strong>ir experiences with such lighting systems, and<br />
mitigating <strong>the</strong> worst effects of light damage under<br />
such circumstances. After <strong>the</strong> final break of<br />
<strong>the</strong> conference Mary Slater presented 'Building<br />
as Art: Preserving <strong>the</strong> National Maritime Museum'<br />
which was co-authored by Paul Nachsheim, Jason<br />
Wright, Mark McMillan, Katharine Untch, and<br />
David Wessel, <strong>the</strong> Museum building was originally<br />
designed to look like an Ocean Liner and was a<br />
Works Progress Administration (WPA) project, and<br />
a team of artists decorated it throughout. The<br />
restoration project included both in-situ restoration,<br />
replacement of materials with non-corrosive<br />
but visually similar alternatives, and removal of<br />
parts of <strong>the</strong> building for lab based <strong>conservation</strong>:<br />
a wonderful project, for a wonderful building.<br />
The final paper of <strong>the</strong> conference was 'Conservation<br />
and Beyond: The Fire Restoration of <strong>the</strong> Governor's<br />
Ceremonial Suite in <strong>the</strong> Oregon State Capitol'<br />
by Peter Miejer, this paper discussed <strong>the</strong> collaborative<br />
efforts to conserve this building, working<br />
with conservators, preservation architects,<br />
design architects, owners, insurance representatives,<br />
and not least <strong>the</strong> politicians who would<br />
use <strong>the</strong> building. This paper really highlighted<br />
<strong>the</strong> challenges and achievements of working in a<br />
cross-disciplinary manner that was <strong>the</strong> focus of<br />
this final day.<br />
After three days of papers, and o<strong>the</strong>r activities, <strong>the</strong><br />
conference closed by thanking all <strong>the</strong> presenters,<br />
attendees, and <strong>the</strong> outgoing WAAC President Marie<br />
Laibinis Craft for organizing <strong>the</strong> conference. This<br />
brief review can barely shed light on <strong>the</strong> high<br />
standard of <strong>the</strong> papers, and <strong>the</strong> discussions that<br />
took place. I certainly took some new ideas away<br />
from <strong>the</strong> conference, and that, I think, is <strong>the</strong> litmus<br />
test of a quality conference.<br />
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NEWS<br />
DEVASTATING FLOOD IN LADAKH, INDIA<br />
A Support Program by Tibet Heritage Fund<br />
By Andre Alexander<br />
Photos by friends of Leh, August 5-7, 2010<br />
On August 5, Ladakh experienced exceptionally<br />
heavy rain, referred to as cloudburst. This triggered<br />
flashfloods and mud slides, hitting lower<br />
Leh, Choklamsar, Sabu, Shey, Basgo, Nyemo, Skorbuchen,<br />
Dhar Hanu and o<strong>the</strong>r villages, causing<br />
untold destruction and so far about 200 confirmed<br />
deaths. More than 200 buildings were completely<br />
destroyed, and fur<strong>the</strong>r 800 were damaged buildings.<br />
According to official count, 1188 households<br />
have been affected across Ladakh. No one can recall<br />
similar heavy rain or a similar catastrophe in<br />
living memory.<br />
Leh's historic old town has not been affected,<br />
and nei<strong>the</strong>r have most temples and monasteries.<br />
Indeed, everywhere it was more recent buildings<br />
and settlements that have been affected, suggesting<br />
that in <strong>the</strong> ancient past, people have been more<br />
careful about where to build. Especially hard hit<br />
was <strong>the</strong> Tibetan refugee settlement at Choglamsar,<br />
established in <strong>the</strong> 1960s.<br />
For over a week, Leh was cut of from <strong>the</strong> rest of<br />
Ladakh, as roads and bridges were also washed<br />
away. There was no electricity and telephony, and<br />
even <strong>the</strong> airport was damaged and closed for one<br />
day. The Indian army quickly rebuilt bridges, cleared<br />
<strong>the</strong> airport runway and <strong>the</strong> major roads. Eventually,<br />
electricity supply and <strong>the</strong> telephone systems<br />
were restored. Many houses were filled to <strong>the</strong><br />
brink with hardening mud. Volunteers from all<br />
sectors of Ladakhi life, Buddhist, Muslims, soldiers,<br />
monks and tourist helped to dig out <strong>the</strong>se<br />
houses, sometimes making terrible discoveries<br />
inside.<br />
Chumikchan Cowshed damage.<br />
Help is coming from abroad and from o<strong>the</strong>r parts<br />
of India, but in an uncoordinated fashion. The<br />
government and Indian donors are building one-<br />
or two-room shelters, from pre-cast concrete slabs<br />
that are brought up. These are not at all suitable to<br />
<strong>the</strong> climate of Ladakh and <strong>the</strong> life-style of its people,<br />
<strong>the</strong> coming winter will be very grim in a concrete<br />
box. Some local Ladakhi NGOs advocate to<br />
build such shelters from concrete-enforced compressed<br />
bricks, but manufacture of such specialized<br />
materials is slow, and winter is approaching.<br />
Detail of damaged modern concrete-frame building at new<br />
bus-stand, Leh.<br />
e-<strong>conservation</strong> 17
NEWS<br />
THF is helping to prevent collapse of damaged<br />
historic buildings in Leh, mainly on <strong>the</strong> edge of<br />
<strong>the</strong> historic old town, and has assessed buildings<br />
for <strong>the</strong>ir safety, advising whe<strong>the</strong>r families can return<br />
to <strong>the</strong>ir houses or not. Certainly, next spring<br />
<strong>the</strong> government and all concerned bodies will have<br />
to take a lot of precautions to prevent <strong>the</strong> catastrophe<br />
from recurring. Most Ladakhis blame <strong>the</strong><br />
climate change, saying historically it has never<br />
rained much in Ladakh (12 th century wall-paintings<br />
in simple buildings with flat mud roofs seem<br />
to bear witness to this). Flood diversion channels<br />
can be built, drainage improved, and protective<br />
walls raised above settlements. Some building<br />
locations may have to be abandoned. But to bring<br />
everyone over <strong>the</strong> winter, THF is proposing an alternative<br />
to building comparatively expensive<br />
shelters (between 2000-4000 Euro) that may not<br />
be suited to <strong>the</strong> local climate, and that may only<br />
be needed for six months.<br />
stay over winter. No expenses for new building materials<br />
are necessary, as everything from a traditional<br />
Ladakhi building can be recycled - including<br />
<strong>the</strong> mud bricks for <strong>the</strong> walls.<br />
Donations to support this program can be sent to:<br />
THF non-profit account in Germany<br />
Account holder: Tibet Heritage Fund<br />
Bank name: Berliner Volksbank<br />
Account Nr. 7104 19 2003<br />
BLZ 100 900 00<br />
SWIFT/BIC BEVODEBB<br />
IBAN: DE03 1009 0000 7104 1920 03<br />
We found that it only takes two skilled masons and<br />
some helpers to make at least one room in each<br />
of <strong>the</strong> damaged buildings safe for <strong>the</strong> family to<br />
Volunteers at work cleaning <strong>the</strong> debris from <strong>the</strong> new<br />
bus-stand area.<br />
Panoramic view of <strong>the</strong> damage suffered at lower Leh from <strong>the</strong> mudslide.<br />
18<br />
e-<strong>conservation</strong>
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e-<strong>conservation</strong>line
EVENTS<br />
November 2010<br />
NODEM10<br />
Nordic Digital Excellence in Museums<br />
From Place to Presence. Digital media breaking boundaries<br />
between inside, outside and virtual spaces, in heritage<br />
institutions<br />
Date: 24-26 November<br />
Read more...<br />
7 th International Conference on Science<br />
and Technology in Archaeology and<br />
Conservation<br />
And <strong>the</strong> Workshop on Documentation and Conservation of<br />
Stone Deterioration in Heritage Places<br />
Date: 7-12 December<br />
Read more...<br />
December 2010<br />
Place: Copenhagen, Denmark<br />
Place: Petra, Jordan<br />
NODEM is a bi-annual conference that explores <strong>the</strong> role<br />
The Workshop will focus on documentation and conserva-<br />
of digital media in museums. One of <strong>the</strong> most striking<br />
tion of stone. Organized jointly with by <strong>the</strong> ICOMOS Sci-<br />
features of digital media in museums today is <strong>the</strong>ir po-<br />
entific Committees of Heritage Documentation (CIPA,<br />
tential for linking and integrating resources, spaces and<br />
Stone Committee (ISCS), and ICAHM) <strong>the</strong> workshop is<br />
users in an abundance of ways. Museums can share con-<br />
aimed at ga<strong>the</strong>ring a multidisciplinary group of heritage<br />
tent and gain exposure as well as work across <strong>online</strong> and<br />
documentation and <strong>conservation</strong> specialists around <strong>the</strong><br />
onsite, users can contribute to knowledge production<br />
issue of <strong>the</strong> use of advanced recording techniques for<br />
and choose between different exhibition platforms, and<br />
identifying, maping, and understanding wea<strong>the</strong>ring<br />
experiences and knowledge can be mediated through a<br />
forms and processes affecting <strong>the</strong> significance and<br />
variety of channels.<br />
integrity of cultural heritage surfaces.<br />
Works of Art and Conservation Science<br />
Today<br />
Date: 26-28 November<br />
Read more...<br />
CALL FOR PAPERS: 2 nd International<br />
Conference on Salt Wea<strong>the</strong>ring<br />
of Buildings and Stone Sculptures<br />
Place: Thessaloniki, Greece<br />
Date: 24-25 Septembe<br />
Read more...<br />
Place: Austin, Texas, USA<br />
The central aim of <strong>the</strong> Symposium is to bring toge<strong>the</strong>r<br />
renowned scientists and experts from all over <strong>the</strong><br />
The conference organised by <strong>the</strong> Building Materials La-<br />
world, who will present <strong>the</strong> state-of-<strong>the</strong>-art in<br />
boratory of <strong>the</strong> University of Cyprus follows a very suc-<br />
<strong>conservation</strong> science and practice, and exchange views<br />
cessful first meeting that was held in Copenhagen, Den-<br />
on key issues related to <strong>the</strong> preservation of our cultural<br />
mark in October 2008. It will take place in Limassol, at<br />
heritage. The Symposium will address major fields of<br />
<strong>the</strong> newly renovated 5-star Grand Resort, between 19-22<br />
<strong>conservation</strong> science including modern diagnostic<br />
October 2011. The meeting is open to both practitioners<br />
techniques, materials for <strong>conservation</strong>, paintings,<br />
and researchers and it is anticipated to address general<br />
metals and ceramics, pigments and dyes, textiles,<br />
salt-related problems and decay mechanisms, <strong>the</strong> key<br />
wood, paper and manuscripts. Basic <strong>the</strong>me in one of<br />
parameters controlling salt crystallisation and new con-<br />
<strong>the</strong> main panels will be <strong>the</strong> Education/Curriculum of<br />
servation approaches and materials.<br />
Conservation Science today.<br />
The symposium will be held in <strong>the</strong> facilities of Byzantine<br />
The deadline for abstract submission is 17 December 2010.<br />
Culture and Archaeological museums and <strong>the</strong> University<br />
For more information, please visit <strong>the</strong> conference web-<br />
Ecclesiastical Academy, according to <strong>the</strong> program.<br />
site or send an email to swbss@ucy.ac.cy.<br />
e-<strong>conservation</strong><br />
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e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
AND COMPARISON TO<br />
IVORY PORTRAIT MINIATURES<br />
by Josie Wornoff<br />
Ivory has been used in <strong>the</strong> creation of objects since <strong>the</strong> beginning of civilization, due to its prized<br />
durability and appearance. Early uses included weaponry, musical instruments, religious pieces,<br />
personal artifacts, decorative items, artistic pieces, and occasionally, book covers. Three small books<br />
from <strong>the</strong> Library and Archives Canada study collection were suspected to have ivory covers. Various<br />
identification tests were administered on <strong>the</strong> book covers, and Fourier Transform Infrared Spectroscopy<br />
analysis confirmed <strong>the</strong>ir elephant ivory composition. However, related literature and o<strong>the</strong>r existing<br />
examples of ivory covered books are rare. In contrast, <strong>the</strong> use of ivory in portrait miniatures is<br />
extensively researched. Library and Archives Canada has over 130 portrait miniatures, and has<br />
successfully treated many of <strong>the</strong>se. Comparison between <strong>the</strong> history, processing, and risks of<br />
deterioration of <strong>the</strong>se two applications of ivory revealed many similarities. From this, similar<br />
<strong>conservation</strong> techniques of portrait miniatures are proposed for use on ivory book covers.
IDENTIFICATION OF IVORY BOOK COVERS<br />
Introduction<br />
Identification of Ivory<br />
The cover material of four small books (Figure 1)<br />
was <strong>the</strong> subject of a research project at Library<br />
and Archives Canada (LAC). Three of <strong>the</strong> books<br />
appeared to be produced of ivory or an ivory substitute,<br />
and <strong>the</strong> fourth resembled tortoiseshell or<br />
horn. Information was ga<strong>the</strong>red on <strong>the</strong> history<br />
and characteristics of ivory and ivory substitutes,<br />
while identification tests were administered to<br />
determine <strong>the</strong> exact compositions of <strong>the</strong> book<br />
covers.<br />
Extensive research revealed that <strong>the</strong>re is very<br />
little mention of ivory book covers in literature.<br />
Though <strong>the</strong>se ivory book covers are quite rare,<br />
<strong>the</strong>re are currently over 130 portrait miniatures<br />
in <strong>the</strong> LAC collection. Since <strong>the</strong> history of ivory<br />
use, ivory processing, and risks of deterioration<br />
are very similar between ivory book covers and<br />
ivory portrait miniatures, similar <strong>conservation</strong><br />
recommendations are proposed for use on ivory<br />
book covers.<br />
There are many methods of testing for ivory, yet<br />
<strong>the</strong>re is no test that is reliable, simple, and inexpensive<br />
[1]. In fact, reliability is limited because<br />
most tests can only prove that a substance is not<br />
ivory, and cannot avoid a destructive aspect in<br />
order to provide this diagnosis [1].<br />
Testing methods<br />
Preliminary examination revealed certain morphological<br />
characteristics that aided in material<br />
identification. For example, <strong>the</strong> size of <strong>the</strong> covers<br />
indicated that <strong>the</strong>y could not be composed of<br />
smaller proteinaceous materials such as antler<br />
or horn [2]. Photography under various lighting<br />
conditions also revealed important details, such<br />
as ivory grain patterns under transmitted light.<br />
Lamellae grain patterns are present in longitudinal<br />
cuts in ivory tusks, whereas Lines of Shreger<br />
are present in cross-sections which provide distinction<br />
from mammoth ivory [1].<br />
Figure 1. For referral purposes, from left to right: Book 3, Book 1, Book 2, and Book 4.<br />
e-<strong>conservation</strong><br />
25
JOSIE WORNOFF<br />
Figure 2. Ivory fluorescence during ultraviolet light testing.<br />
Ultraviolet light was also used to distinguish bluepurple<br />
fluorescing ivory [3], from darker and dull<br />
syn<strong>the</strong>tic materials [4]. The three small ivory<br />
books each fluoresced a bright colour, while <strong>the</strong><br />
added resins revealed a green colour. Book 4 fluoresced<br />
a dull, mottled colour, but identification<br />
guidelines for tortoiseshell or horn were inconclusive<br />
(Figure 2).<br />
Figure 3. Hot needle test on Book 4.<br />
Many polymer imitations of ivory will melt or burn<br />
under heated conditions [3]. A hot needle was<br />
applied to <strong>the</strong> surface of each cover, leaving only<br />
a small black dot on <strong>the</strong> first three books, indicating<br />
true ivory [4]. However, Book 4 became<br />
very soft with heat, and <strong>the</strong> needle entered readily,<br />
disfiguring <strong>the</strong> surface (Figure 3). Similarly,<br />
a small shaving of each book cover was held in a<br />
flame to perform a burn test. A shaving of celluloid<br />
or o<strong>the</strong>r substitute will burn rapidly and completely,<br />
often releasing <strong>the</strong> odor of camphor which<br />
was used to increase strength and decrease flammability<br />
of cellulose nitrate [5]. The shaving of <strong>the</strong><br />
ivory substances smelled vaguely of bone, but <strong>the</strong><br />
odour of <strong>the</strong> brown book was distinctively burning<br />
plastic.<br />
A chemical test that would have been more conclusive<br />
is <strong>the</strong> diphenylamine spot test. A blue-violet<br />
stain will appear within seconds if cellulose nitrate<br />
Figure 4. FT-IR spectroscopy testing at CCI on Book 1.<br />
26 e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
is present, and any o<strong>the</strong>r colour or no colour change<br />
indicates cellulose nitrate is not present [6]. This<br />
test would have been successful in determining<br />
that <strong>the</strong> brown book was in fact cellulose nitrate,<br />
but not aid in identifying <strong>the</strong> o<strong>the</strong>r books.<br />
Scientific Analysis<br />
Finally, a conclusive test was administered. Scott<br />
Williams, Senior Conservation Scientist at <strong>the</strong> Canadian<br />
Conservation Institute (CCI), performed<br />
Fourier Transform Near Infrared Reflectance Spectroscopy<br />
testing on <strong>the</strong> four books as well as an<br />
elephant ivory sample [7] (Figure 4). A LabSpec<br />
Pro NIR spectrometer (Analytical Spectral Devices)<br />
with a bifurcated fibre optic reflection probe was<br />
used to ga<strong>the</strong>r spectra from each material [7]. The<br />
characterization of <strong>the</strong> material is determined by<br />
its molecular interaction with <strong>the</strong> infrared radiation<br />
which originates a characteristic spectrum<br />
[8].The spectra were <strong>the</strong>n arranged on graphs in<br />
comparison with <strong>the</strong> spectra of reference materials<br />
of known compositions [7].<br />
From <strong>the</strong> ga<strong>the</strong>red spectra, it is evident that Book<br />
1, Book 2 and Book 3 are each pure elephant ivory<br />
(Figure 5). Every spectrum of each book (except<br />
Book 4) is very closely related to <strong>the</strong> sample spectra<br />
of a known elephant tusk. However, Book 4 did<br />
not closely compare to <strong>the</strong> elephant tusk sample<br />
at all. However, it did relate closely to sample spectra<br />
from cellulose nitrate (Figure 6) Therefore, it<br />
was concluded with certainty that Book 1, Book 2,<br />
and Book 3 are made of true elephant ivory, and<br />
Book 4 is made of cellulose nitrate.<br />
History of Ivory Use<br />
Early man utilized as much of mammoths as possible,<br />
beginning <strong>the</strong> tradition of ivory use in both<br />
utilitarian and decorative objects [3]. Early uses<br />
included weaponry, musical instruments, religious<br />
pieces, personal artifacts, decorative items, artistic<br />
pieces, and parts for games [3]. Ivory became associated<br />
with gold and silver as a luxurious commodity,<br />
used especially for decorating objects of<br />
value [1].<br />
Figure 5. Spectra of Book 1, Book 2, and Book 3 compared to sample ivory (red) (Graph: Scott Williams).<br />
Covers and embellishments for all books<br />
have spectra similar to elephant ivory<br />
(red trace).<br />
e-<strong>conservation</strong><br />
27
JOSIE WORNOFF<br />
The spectra of <strong>the</strong> cover and cross are nearly<br />
identical to each o<strong>the</strong>r and to that of a reference<br />
sample of cellulose nitrate (red trace), but differ<br />
from ivory (grey trace) and tortoiseshell (pink<br />
trace). Cellulose nitrate was commonly used<br />
to simulate tortoiseshell.<br />
Figure 6. Spectra of Book 4 compared to cellulose nitrate (red) and ivory (grey) (Graph: Scott Williams).<br />
Along with its ability to outlast o<strong>the</strong>r common materials<br />
such as paper, cloth, and wood, ivory is<br />
also prized for its clean beauty, smoothness, and<br />
ability to show a bright gloss [1]. The ivory book<br />
covers feature <strong>the</strong>se aes<strong>the</strong>tic qualities, but <strong>the</strong><br />
relatively good condition indicates that <strong>the</strong>y were<br />
likely on display as revered religious objects in<br />
accordance with historical fashionable use.<br />
Ivory Use in Book Covers<br />
The use of ivory in book covers has rarely been focused<br />
on in <strong>the</strong> past; however, it is occasionally<br />
mentioned in literature regarding general ivory<br />
use. The three books are each comprised of two<br />
pieces of thin ivory to serve as book covers, and<br />
on Book 2, a third piece for a spine. However, a<br />
more common practice throughout history was<br />
to repurpose two plaques or <strong>the</strong> two pieces of a<br />
diptych to enclose written material.<br />
An early use of ivory books is mentioned in <strong>the</strong> 275<br />
C.E. Roman history Scriptores Historiae Augustae<br />
[9]. Ivory panels were used to record names and<br />
deeds of emperors, which was a tradition that extended<br />
to <strong>the</strong> later Roman and Byzantine courts.<br />
This confirms <strong>the</strong> continued early use of ivory<br />
books on ceremonial occasions, and indicates<br />
that <strong>the</strong> book format was likely two tablets hinged<br />
toge<strong>the</strong>r.<br />
In <strong>the</strong> Early Middle Ages, ivory continued to be<br />
highly revered and was used sparingly for important<br />
commissions, which included <strong>the</strong> covers of<br />
imperial manuscripts [10]. Many of <strong>the</strong> ivory objects<br />
made in <strong>the</strong> Late Roman and Early Medieval<br />
periods, including consular diptychs and ivory<br />
book covers, have survived above ground to <strong>the</strong><br />
present day. This unique preservation is due to a<br />
combination of <strong>the</strong> material’s durability and <strong>the</strong><br />
traditions sanctioned by church and state throughout<br />
history [10].<br />
In addition to ceremonial recognition and imperial<br />
documentation, ivory was very commonly used to<br />
emphasize <strong>the</strong> importance of religious imagery<br />
28 e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
and texts. The Carolingian period marked a revival<br />
of ivory carving [10], particularly in ecclesiastical<br />
furniture, reliquaries, and book covers [1]. Charlemagne<br />
sought to recreate <strong>the</strong> glory and culture of<br />
ancient civilizations by having scribes and artists<br />
copy classical texts and illustrations, including<br />
many books of lavish miniatures and gold and/or<br />
ivory covers [10]. After <strong>the</strong> Carolingian revival,<br />
ivory continued to be used for making fine book<br />
covers for treatises of special merit or religious<br />
manuscripts [1].<br />
A less figurative and more decorative design became<br />
more common in <strong>the</strong> later years. This is more<br />
representative of <strong>the</strong> simple, elegant designs of<br />
<strong>the</strong> three deaccessioned books, as <strong>the</strong>y are from<br />
<strong>the</strong> late 19 th century. Book 1 has four fleur-de-lis<br />
additions on <strong>the</strong> front and back, and an ink emblem<br />
on <strong>the</strong> center medallion. Book 2 has a simple<br />
yet beautiful oval medallion and surrounding engraving,<br />
while Book 3 includes an asymmetrical<br />
center addition.<br />
Ivory Use in Portrait Miniatures<br />
books, so miniaturists continued to illustrate books<br />
but also offered patrons independent miniatures<br />
[11]. In <strong>the</strong> 1520s, individual portraits in miniature<br />
size were first produced at French and English<br />
courts on a portable piece of parchment or<br />
vellum [11]. This transfer of art technique relied<br />
on an understanding of <strong>the</strong> close association between<br />
<strong>the</strong> materials and techniques of <strong>the</strong> illuminated<br />
book and <strong>the</strong> early miniature on parchment<br />
[12]. It is interesting to consider <strong>the</strong> implication<br />
on portrait miniatures had an early ivory book been<br />
present and considered for <strong>the</strong> same transfer of<br />
application.<br />
Instead, small scale portrait images were painted<br />
in a range of materials, styles, and techniques,<br />
from water-based paints on paper or card supports,<br />
to fired enamels on gold or copper supports, and<br />
oil paints on metal, stone, glass and tortoiseshell<br />
[12]. However, <strong>the</strong> most significant early methods<br />
of painting portraits were on parchment or vellum,<br />
called limnings, becoming known as portrait miniatures<br />
in <strong>the</strong> 18 th century when <strong>the</strong>y began to be<br />
painted on ivory [12].<br />
The use of ivory in books seems to have not experienced<br />
a specific period of use, but ra<strong>the</strong>r was in<br />
use periodically throughout history. In contrast,<br />
portrait miniatures were very popular during a<br />
400 year time period. Both ivory objects are intended<br />
to show a kind of devotion; <strong>the</strong>se particular<br />
books to display religious beliefs, and <strong>the</strong> portrait<br />
miniatures to commemorate a loved one or<br />
important figure. The books were likely on display<br />
in a home when <strong>the</strong>y were not in use as a Catholic<br />
missal to celebrate Mass throughout <strong>the</strong> year, however,<br />
<strong>the</strong> miniatures were often more personal than<br />
for display.<br />
Notably, early portrait miniatures were derived<br />
from illuminated manuscripts. From <strong>the</strong> 1460s,<br />
handwritten books had to compete with printed<br />
The first watercolour portraits on ivory tablets<br />
were attributed to <strong>the</strong> Venetian artist Rosalba<br />
Carriera [13]. These were initially used as bases<br />
or lids for boxes [13], much like <strong>the</strong> repurposing<br />
of diptychs and plaques for early ivory books.<br />
Carriera ga<strong>the</strong>red fame throughout Europe for<br />
<strong>the</strong> beauty of <strong>the</strong> ivory visible through <strong>the</strong> transparent<br />
paint in flesh coloured areas [13]. By 1710,<br />
artists internationally faced pressure to conform<br />
to this new fashion despite <strong>the</strong> difficulty of painting<br />
watercolour on <strong>the</strong> unabsorbent ivory [13].<br />
After <strong>the</strong> introduction of ivory as a support for portrait<br />
miniatures, parchment use began to decline<br />
until it stopped entirely [12]. The popularity of <strong>the</strong><br />
portrait miniature was decreasing by 1839 with <strong>the</strong><br />
introduction of <strong>the</strong> daguerreotype, a few decades<br />
e-<strong>conservation</strong><br />
29
JOSIE WORNOFF<br />
before <strong>the</strong>se books were produced in Europe. However,<br />
it is likely that <strong>the</strong> materials and techniques<br />
from portrait miniatures remained readily available<br />
to adapt to <strong>the</strong> production of <strong>the</strong>se ivory<br />
book covers.<br />
Ivory Processing<br />
Due to <strong>the</strong> lack of published information on ivory<br />
books, it is only possible to infer how <strong>the</strong> covers<br />
were formed. However, <strong>the</strong>re are many resources<br />
on <strong>the</strong> general processing of ivory, as well as techniques<br />
used to make ivory leaves for miniatures.<br />
First <strong>the</strong> brownish outer bark-like layer is removed<br />
[1], followed by <strong>the</strong> seasoning, cutting, smoothing,<br />
and forming of ivory into a sheet.<br />
Ivory is hygroscopic, like wood [14]. Therefore,<br />
seasoning is required to allow for natural shrinkage;<br />
weight losses of up to 4% have been recorded<br />
[1]. Without controlled drying, ivory will likely<br />
crack or warp [15]. However, it is an o<strong>the</strong>rwise<br />
ideal material to process due to its dense, virtually<br />
grainless and evenly textured nature [10].<br />
Many tools and techniques have been used to cut<br />
ivory throughout history. Many cutting and carving<br />
tools were employed, including: saws, shears,<br />
rasps, files, drills, punches, chisels, picks, scrapers,<br />
and a variety of knives and similar cutting instruments.<br />
For flat sections, <strong>the</strong> broad surfaces were<br />
cut radially to show <strong>the</strong> edges of <strong>the</strong> ivory’s lamellae,<br />
or tangentially to create a finer looking ivory<br />
with less noticeable grain [15].<br />
During <strong>the</strong> popularity of portrait miniatures, ivory<br />
sheets were available for purchase in pre-cut sheets<br />
called leaves [<strong>16</strong>]. These leaves were cut lengthwise<br />
from <strong>the</strong> elephant’s tusk [<strong>16</strong>]. The ivory book<br />
covers are each around 1 mm thick, slightly thicker<br />
than most portrait miniature leaves, yet quite<br />
similar (Figures 7 and 8).<br />
Figure 7. Verso of a portrait miniature revealing <strong>the</strong> longitudinal<br />
lamellae of ivory.<br />
Figure 8. Characteristic ivory longitudinal grain patterns in<br />
Book 1.<br />
Figures 6-8. Sampling in Coptic fragments codes from <strong>the</strong><br />
National Archaeological Museum. From up to down: 15064;<br />
15065 and 1976/130/11. Photos by José Baztan.<br />
30 e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
Ancient carvers managed to hand cut ivory into<br />
a thin veneer cylinder, which was cut into pieces<br />
and subsequently softened and mounted upon <strong>the</strong><br />
curved faces and hands of sculptures [1]. Medieval<br />
book covers may have been made this way as <strong>the</strong>re<br />
are some early surviving ivory book covers as large<br />
as 30 cm square [1].<br />
The size of leaves was limited by <strong>the</strong> diameter of<br />
tusks, until technology developed for <strong>the</strong> production<br />
of larger sheets of ivory in <strong>the</strong> early 19 th century<br />
[<strong>16</strong>]. Ivory was spiral cut with a reciprocating<br />
saw into a scroll, steamed until soft, <strong>the</strong>n subjected<br />
to hydraulic pressure to flatten to a desired size<br />
[<strong>16</strong>]. The resulting ivory had an increased flexibility,<br />
a finer polish, and less grain patterns [17], but <strong>the</strong><br />
surface was often wavy and needed to be laid down<br />
on stiff card before painting could begin [<strong>16</strong>].<br />
Miniaturists were traditionally concerned about<br />
<strong>the</strong> permanence and stability of <strong>the</strong>ir ivory leaves<br />
[<strong>16</strong>]. Veneer cut ivory proved undesirable as <strong>the</strong><br />
ivory was prone to shattering into thin, parallel<br />
segments [<strong>16</strong>]. Therefore, miniaturists continued<br />
to cut leaves in <strong>the</strong> traditional manner, just as <strong>the</strong>y<br />
continued to use <strong>the</strong> same materials and techniques<br />
since <strong>the</strong> 18 th century [<strong>16</strong>]. Since watercolour paint<br />
did not readily adhere to <strong>the</strong> ivory material, miniature<br />
leaves required <strong>the</strong> extra steps of degreasing,<br />
whitening, and scraping [18].<br />
Risks for Deterioration of Ivory<br />
The most common instances of ivory deterioration<br />
are warping, cracking and complications arising<br />
from added materials. Ivory is a relatively stable<br />
material, but only in a constant environment [19].<br />
It is an anisotropic material, and is <strong>the</strong>refore susceptive<br />
to warping and cracking on exposure to<br />
heat or moisture [3]. Thin artifacts such as miniatures<br />
and book covers are especially vulnerable,<br />
as even moisture and heat from hands may be<br />
damaging [3].<br />
Warping<br />
The risk of warping is increased when <strong>the</strong> ivory is<br />
mounted on stiff backing cards, restricting natural<br />
Figure 9. Severe warp of a portrait miniature at LAC.<br />
e-<strong>conservation</strong><br />
31
JOSIE WORNOFF<br />
movement [12]. Ivory should be allowed to expand<br />
or contract with changes in temperature, which<br />
will be at a different rate than of <strong>the</strong> paper [1]. The<br />
front of <strong>the</strong> ivory sheet shrinks laterally, while <strong>the</strong><br />
back is restrained by <strong>the</strong> glue and paper [20]. Warping<br />
often occurs parallel to <strong>the</strong> grain [20] in an<br />
even, concave curvature [21].<br />
Many miniatures have a slight warp, but it is often<br />
considered acceptable if it is not too extreme [21]<br />
(Figure 9). The ivory covers on Book 2 are moderately<br />
warped, similar to portrait miniatures with<br />
restricting backing cards (Figure 10). A sign of<br />
unstable warping is irregular buckling caused by<br />
stresses between <strong>the</strong> ivory and an unevenly attaching<br />
backing [21]. This will eventually cause<br />
cracking and splitting [1].<br />
Cracking<br />
Often <strong>the</strong>re is insufficient room within <strong>the</strong> frame<br />
of a miniature to allow <strong>the</strong> ivory to react to atmospheric<br />
conditions, causing <strong>the</strong> ivory to warp and<br />
crack [22]. This is seen on Book 3, as <strong>the</strong> metal<br />
casing is restricting movement of <strong>the</strong> ivory book<br />
covers, worsening <strong>the</strong> warp into a more uneven,<br />
unstable buckling. The fabrication of <strong>the</strong>se three<br />
books is inherently faulty, as <strong>the</strong> covers cannot<br />
stay adhered to <strong>the</strong> board as well as clasped for a<br />
long amount of time. Ei<strong>the</strong>r <strong>the</strong> ivory piece lifts<br />
from <strong>the</strong> front cover and stays clasped, or <strong>the</strong> ivory<br />
stays attached but <strong>the</strong> clasp breaks off. This is<br />
evident on Book 1 and Book 2, respectively (Figure<br />
11).<br />
Added materials<br />
Ivory book covers are essentially a combination of<br />
materials, so <strong>the</strong>re are often anticipated problems<br />
with added materials. Metals provide a great aes<strong>the</strong>tic<br />
contrast with ivory; however, <strong>the</strong> materials<br />
react differently to environmental conditions. Sudden<br />
changes in temperature expand metal more<br />
than <strong>the</strong> brittle ivory, putting an undue mechanical<br />
pressure on <strong>the</strong> area [4]. Galvanic currents<br />
are formed between materials with diverse elec-<br />
Figure 10. Moderate warp of Book 2.<br />
32 e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
Figure 11. The completely detached ivory cover of Book 1.<br />
trical potential, which weakens <strong>the</strong> ivory creating<br />
cracks [4]. This often occurs at <strong>the</strong> point of contact<br />
between <strong>the</strong> ivory and <strong>the</strong> metal, as seen in<br />
Book 3 where cracks have occurred and Book 2 has<br />
even broken off into pieces at <strong>the</strong> areas in contact<br />
with <strong>the</strong> metal hinges (Figure 12).<br />
<strong>the</strong> ivory book covers is similar to that of portrait<br />
miniatures and more general ivory objects. Treatments<br />
for portrait miniatures may be adapted to<br />
ivory book covers, specifically focused on basic<br />
cleaning, minimizing warp, and repairing cracks<br />
and losses.<br />
Paint films suffer crazing, cracking and peeling<br />
due to improper preparation of <strong>the</strong> paint or <strong>the</strong><br />
ivory support [12]. Watercolour paint is very susceptible<br />
to any moisture, including relative humidity,<br />
cleaning solutions, and general water staining<br />
[12]. None of <strong>the</strong> books have painting on <strong>the</strong>m,<br />
though Book 1 has an intricate ink design on <strong>the</strong><br />
center medallion.<br />
Figure 12. The broken edge on Book 2 due to stress of previous<br />
clasp.<br />
Conservation<br />
The unique problems associated with ivory require<br />
specialized <strong>conservation</strong>. Much of <strong>the</strong> damage on<br />
e-<strong>conservation</strong><br />
33
JOSIE WORNOFF<br />
Cleaning<br />
Basic cleaning of portrait miniatures should be<br />
done with a soft brush, cloth, or lea<strong>the</strong>r [21].<br />
Water and mild soap cannot be applied on thin films<br />
of ivory as <strong>the</strong>y are particularly susceptible to<br />
water damage [3] and may cause condensation,<br />
water damage, or mould [12]. The ivory is quite<br />
dirty on all three books, especially in recessed areas.<br />
Dry clean methods such as a stiff brush should be<br />
used to enter all depressions to remove surface<br />
dirt while leaving <strong>the</strong> natural patina. A dry, soft<br />
cloth may also be used to rub <strong>the</strong> exterior to extract<br />
<strong>the</strong> natural oils of <strong>the</strong> ivory.<br />
The preservation of original frames and cases are<br />
an important aspect of <strong>the</strong> <strong>conservation</strong> of miniature<br />
portraits. If a frame requires cleaning, a<br />
damp swab may be applied locally after removal<br />
of miniature, or it may be polished with a soft<br />
flannel cloth or Hagerty Jewelry Cloth [23]. The<br />
metal clasps on Book 1 and Book 3 and <strong>the</strong> frame<br />
on Book 3 may benefit from polishing with <strong>the</strong>se<br />
techniques.<br />
Aged ivory develops a yellowish patina which is<br />
natural to <strong>the</strong> object and should not be removed<br />
[14]. However, removal of water stains and aged<br />
varnish may be desired for aes<strong>the</strong>tic purposes on<br />
portrait miniatures. Acetone may be used to dissolve<br />
aged adhesive or varnish, and a scalpel to<br />
mechanically remove <strong>the</strong> rest [23]. The appearance<br />
of water damage can be minimized by coloured<br />
pencils [23]. Book 3 appears to have a discoloured<br />
Figure 13. Adhesive staining overall on Book 3.<br />
34 e-<strong>conservation</strong>
IDENTIFICATION OF IVORY BOOK COVERS<br />
varnish applied over <strong>the</strong> ivory, distracting from <strong>the</strong><br />
natural beauty of <strong>the</strong> underlying ivory. Acetone<br />
swab could be used to remove varnish, however it<br />
is likely too risky to attempt removal of <strong>the</strong> varnish<br />
as <strong>the</strong> ivory is inset into <strong>the</strong> metal frames<br />
(Figure 13).<br />
Warping<br />
The removal of backings from portrait miniatures<br />
often reduces <strong>the</strong> pressure that is causing <strong>the</strong>m<br />
to warp [24]. Miniatures are placed face down<br />
and a thin scalpel blade is used to peel away <strong>the</strong><br />
backing, ensuring it is secure on a curved support.<br />
Adhesives may require softening with a damp blotter<br />
[23], less than 50% ethanol in water [20], or<br />
10% Laponite solution through a tissue [23]. In<br />
miniatures, <strong>the</strong> backing cards are an addition to<br />
facilitate painting of <strong>the</strong> ivory. In books, <strong>the</strong> backings<br />
are <strong>the</strong> book board, an integral part of <strong>the</strong><br />
structure and intention of <strong>the</strong> object. Thus despite<br />
warping, it is not advisable to remove <strong>the</strong><br />
ivory from <strong>the</strong> card, nor reline <strong>the</strong> ivory.<br />
The warping of ivory is a serious issue for portrait<br />
miniatures as it affects <strong>the</strong> delicate paint layer and<br />
may escalate until <strong>the</strong> ivory exceed <strong>the</strong> dimensions<br />
of its case [22]. Ivory pieces can be placed in a<br />
chamber conditioned with silica gel at 65-70%<br />
RH for 10 minutes up to 2-5 hours, <strong>the</strong>n clamped<br />
between Plexiglas ® sheets [23]. This successfully<br />
relaxes ivory to a more flattened state.<br />
In addition, a Gore-Tex ® humidifying system has<br />
been adapted from paper <strong>conservation</strong> to flatten<br />
miniatures on ivory [24]. The miniature is placed<br />
concave side down, between layers of Gore-Tex ® ,<br />
silicon paper, blotting paper, and plastic [25]. Gore-<br />
Tex ® allows a controlled amount of moisture to<br />
pass through <strong>the</strong> ivory, and if necessary, increased<br />
weighting will gradually flatten <strong>the</strong> ivory in 4-8<br />
hours [26].<br />
Though <strong>the</strong> silica gel and Gore-Tex ® methods do<br />
reduce irregular distortions, it is often not possible<br />
or wise to attempt to completely flatten <strong>the</strong><br />
miniature [24]. A safe alternative to attempting<br />
to force <strong>the</strong> ivory flat is simply to accept some<br />
distortion [24]. In fact, specialized sink mats can<br />
be made with 2-ply rag board [23] or Plastazone,<br />
which allow responses to changes in environment<br />
from <strong>the</strong> portrait miniatures [24].<br />
Though <strong>the</strong>re is a significant warp in <strong>the</strong> ivory of<br />
<strong>the</strong>se books, flattening treatment is not recommended.<br />
There are too many mixed materials in<br />
<strong>the</strong> books to attempt flattening. Each of <strong>the</strong>se<br />
materials would respond differently to <strong>the</strong> moisture<br />
introduced in flattening treatments. Fur<strong>the</strong>rmore,<br />
Book 1 and Book 2 exhibit natural curving<br />
which do not conform to <strong>the</strong> text block, nor should<br />
it be forced. Book 3 shows restrained buckling<br />
that is caused by various pressures exerted from<br />
<strong>the</strong> metal framing, adhesive and varnish. If <strong>the</strong>se<br />
pieces were detached, <strong>the</strong>y would benefit from a<br />
relaxing treatment from ei<strong>the</strong>r silica gel chamber<br />
or a Gore-Tex® procedure.<br />
Cracking<br />
Ivory cracks and losses are <strong>the</strong> result of former<br />
stresses and distortions, meaning pieces may not<br />
align and will be difficult to successfully repair<br />
[19]. Thus, <strong>the</strong>y should be treated in <strong>the</strong> early<br />
stages as soon as possible to avoid increased damage<br />
[24]. Unfortunately, very extreme warping<br />
and cracking of ivory is essentially irreversible [3].<br />
Prior to treatment of ivory cracks, individual pieces<br />
must be flattened first [20], with <strong>the</strong> backing paper<br />
removed [24].<br />
Experimentation to find <strong>the</strong> ideal adhesive for<br />
treating ivory resulted in nearly every material<br />
being used in <strong>the</strong> past [27]. Mowilith DMC2 is<br />
currently recommended based on CCI test results,<br />
e-<strong>conservation</strong><br />
35
IDENTIFICATION OF IVORY BOOK COVERS<br />
from illuminated manuscripts, though declined<br />
in popularity by <strong>the</strong> time <strong>the</strong>se books were made.<br />
Cutting and veneering techniques were much<br />
<strong>the</strong> same, as well as consequent risks of deterioration.<br />
Similarities in history of ivory use, ivory processing,<br />
and risks of deterioration led to a comparison of<br />
<strong>conservation</strong> techniques. Though <strong>the</strong> book covers<br />
are in poor condition, it is due to <strong>the</strong> inherent vice<br />
of <strong>the</strong> ivory book structure. Thus, <strong>conservation</strong><br />
treatment may not yield lasting effects, so administering<br />
preventive <strong>conservation</strong> practices in order<br />
to prevent fur<strong>the</strong>r damage would be a more<br />
appropriate approach.<br />
Through research on <strong>the</strong> history of ivory use in<br />
book covers, it is evident that <strong>the</strong>re has been a<br />
long tradition which may have ended around <strong>the</strong><br />
time of <strong>the</strong>se three examples. They are thus in a<br />
stable enough condition to display <strong>the</strong> delicate<br />
and beautiful craftsmanship of ivory in <strong>the</strong> unique<br />
form of book covers. Fur<strong>the</strong>rmore, this comparison<br />
has revealed <strong>the</strong> impact that <strong>the</strong> growing knowledge<br />
of portrait miniatures in Canada is beginning<br />
to have on o<strong>the</strong>r areas of <strong>conservation</strong>.<br />
Acknowledgements<br />
The author would like to thank Library and Archives<br />
Canada as well as <strong>the</strong> following people for <strong>the</strong>ir<br />
invaluable assistance: Anne Maheux and Genevieve<br />
Samson at LAC for all <strong>the</strong>ir support; Scott Williams<br />
and Tom Stone at <strong>the</strong> Canadian Conservation Institute<br />
for examining and analyzing <strong>the</strong> ivory materials;<br />
Gayle McIntyre at Fleming College for her<br />
encouragement and feedback; Alan Derbyshire<br />
at <strong>the</strong> Victoria and Albert Museum for <strong>the</strong> use of<br />
his photographs; Maria Bedynski at LAC for sharing<br />
her expertise in portrait miniatures; and especially<br />
Lynn Curry at LAC for her inspiration and<br />
mentorship throughout this entire project.<br />
References<br />
[1] B. Burack, Ivory and its Uses, Charles E. Tuttle<br />
Company, Rutland, Vermont, USA, 1984<br />
[2] O. Krzyszkowska, Ivory and Related Materials: an<br />
Illustrated Guide, Institute of Classical Studies,<br />
London, 1990<br />
[3] I. M. Godfrey, “Ivory, Bone and Related Materials”,<br />
D. Gilroy and I. M. Godfrey (eds.) A Practical Guide<br />
to <strong>the</strong> Conservation and Care of Collections, Western<br />
Australian Museum, Perth, 1998, pp. 47-52<br />
[4] G. Matthaes, The Art Collector's Illustrated Handbook,<br />
Museo d'Arte e Scienza, Milan, 1997<br />
[5] J. Thornton, The Structure of Ivory and Ivory<br />
Substitutes, A.I.C. Preprints of Ninth Annual<br />
Meeting, Philadelphia, 1981, pp. 173-181<br />
[6] S. Williams, “The Diphenylamine Spot Test for Cellulose<br />
Nitrate in Museum Objects”, CCI Notes 17/2,<br />
Canadian Conservation Institute, Ottawa, 1994,<br />
URL (accessed October 2009)<br />
[7] S. Williams, CCI 120102: Near Infrared Spectroscopic<br />
Analysis of Ivory Book Covers, Canadian Conservation<br />
Institute, Ottawa, 2009, unpublished report<br />
[8] E. O. Espinoza, and M.-J. Mann, Identification Guide<br />
for Ivory and Ivory Substitutes, Washington D.C.,<br />
World Wildlife Fund and The Conservation Foundation,<br />
1991, URL (accessed September 2009)<br />
[9] C.L. Connor, The Color of Ivory: Polychromy on<br />
Byzantine Ivories, Princeton University Press,<br />
New Jersey, 1997<br />
[10] R.H. Randall Jr., Masterpieces of Ivory from <strong>the</strong><br />
Walters Art Gallery, Hudson Hills Press in association<br />
with <strong>the</strong> Walters Art Gallery, Baltimore, 1985<br />
[11] "Watercolour on Ivory", Victoria and Albert<br />
Museum, URL (accessed November 2009)<br />
[12] C. Aiken, “Literature that Addresses <strong>the</strong> Characterization<br />
and <strong>the</strong> Conservation of Portrait Miniatures”,<br />
Reviews in Conservation 1, 2000, pp. 3-9<br />
[13] J. Murrell, "Portrait Miniatures on Ivory: Problems<br />
of Technique and Style", Traitement des supports.<br />
e-<strong>conservation</strong><br />
37
JOSIE WORNOFF<br />
Travaux interdisciplinaires: journées sur la <strong>conservation</strong>,<br />
restauration des biens culturels, 1989,<br />
pp. <strong>16</strong>9-176<br />
[14] “Care of Ivory, Bone, Horn and Antler”, CCI Notes<br />
6/1, Canadian Conservation Institute, Ottawa,<br />
1988, URL (acessed September 2009)<br />
[15] C. Holtzapffel and J. C. Thompson, Working Horn,<br />
Ivory & Tortoiseshell, Portland, The Caber Press,<br />
2000<br />
[<strong>16</strong>] C. Aiken, "Ivory and <strong>the</strong> Art of Miniature Painting",<br />
Looking for Eulabee Dix: The Illustrated Biography<br />
of an American Miniaturist, National Museum of<br />
Women in <strong>the</strong> Arts, Washington, 1997, pp. 285-293<br />
[17] J.H. Pratt, “Improvement in Ivory Covered Books”,<br />
U.S. Patent No. 42,507 of April 26, 1864, United<br />
States Patent Office, New York, 1864<br />
[18] E. Cristoferi and C. Fiori, "Polishing Treatments<br />
on Ivory Materials in <strong>the</strong> National Museum Ravenna",<br />
Studies in Conservation 37, 1992, pp. 259<br />
[19] P.E. Guldbeck and A. B. MacLeish, Care of Antiques<br />
and Historical Collections, Rowman Altamira, 1996<br />
[20] K. Eirk, and W. Wiebold, Objects of Affection: The<br />
Conservation of Portrait Miniatures, National<br />
Museum of American Art, unpublished report<br />
[21] M.T. Simpson and M. Huntley (eds.), "Paintings:<br />
Miniatures", So<strong>the</strong>by’s Caring for Antiques: a guide<br />
to handling, cleaning, display and restoration,<br />
Markham, Canada Octopus Publishing Group Canada,<br />
1992, pp. 110-13<br />
[22] A. Derbyshire, “Restoration of miniatures on ivory.<br />
Sauvegarde et <strong>conservation</strong> des photographies,<br />
dessins, imprimés et manuscrits”, Actes des journées<br />
internationales d études de l’ARSAG, Paris, 30 sept.<br />
- 4 <strong>oct</strong>. 1991 (Paris, ARSAG, 1991) pp.147-151<br />
[23] C. Aiken and M. Bedynski, LAC Portrait Miniature<br />
Project Condition Reports, Ottawa, Library and<br />
Archives Canada, 2007, unpublished report<br />
[24] A. Derbyshire, N. Frayling and C. Rönnerstam,<br />
“Developments in <strong>the</strong> Field of Portrait Miniature<br />
Conservation”, Restauratorenblätter 21, 2000,<br />
pp. 53-59<br />
[25] M. Trojan-Bedynski and G. Gignac, “Portrait Miniatures:<br />
History, Materials, Techniques and Conservation”,<br />
30 th Canadian Association for Conservation<br />
Annual Conference, Quebec City, May 26-30,<br />
2004, Library and Archives Canada, 2004<br />
[26] A. Derbyshire, “The Use of Gore-tex in <strong>the</strong> Flattening<br />
of Miniatures on Ivory”, Paper Conservation<br />
News 63, 1992<br />
[27] C. Snow and T. Weisser, “The Examination and Treatment<br />
of Ivory and Related Materials”, Adhesives and<br />
Consolidants, The International Institute for Conservation<br />
of Historic and Artistic Works, London, 1984<br />
[28] F. Minney, "The Conservation and Reconstruction<br />
of a Late Bronze Age Ivory Inlaid Box from Palestine",<br />
The Conservator, vol. 15, 1991, pp. 3-7<br />
[29] Victoria and Albert Museum, “The Care of Ivory”,<br />
Technical Notes on <strong>the</strong> Care of Art Objects, no. 6,<br />
Victoria and Albert Museum, London, 1971<br />
JOSIE WORNOFF<br />
Paper Conservator<br />
Contact: josie.wornoff@utoronto.ca<br />
Josie Wornoff is an emerging paper conservator<br />
from Keene, Ontario, Canada. She began her postsecondary<br />
education with an Honours Bachelor<br />
of Arts at University of Toronto, majoring in Art<br />
History and English. During this time she held<br />
many volunteer and paid positions at various cultural<br />
institutions across Ontario, and spent two<br />
summers abroad studying art history in Italy and<br />
Mexico. Josie <strong>the</strong>n completed <strong>the</strong> Collections Conservation<br />
and Management program at Sir Sandford<br />
Fleming College. This concluded with a four<br />
month internship at Library and Archives Canada<br />
Preservation Centre, specializing in <strong>the</strong> <strong>conservation</strong><br />
of books and art on paper. Josie recently<br />
completed a project conserving a large collection<br />
of fire damaged art and artifacts for a private <strong>conservation</strong><br />
business in Florida. Currently, she is<br />
preserving books through digitization initiatives<br />
at Internet Archive Canada in Toronto.<br />
38 e-<strong>conservation</strong>
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
An Assessment of Enzyme Activity, Fungicides<br />
and Some Mummification Materials<br />
for <strong>the</strong> Inhibition of Microbial Deterioration<br />
by Abdelrazek Elnaggar, Ahmed Sahab,<br />
Siham Ismail, Gamal Mahgoub and<br />
Mohammed Abdelhady<br />
Fungal and bacterial strains were isolated from some Egyptian mummies (from <strong>the</strong> Ismailia<br />
Museum, Ismailiaa, Egypt; <strong>the</strong> El-Dokki Agriculture Museum in Cairo, Egypt and human<br />
mummies in storage at <strong>the</strong> Ehnasia Museum in Beni-Sweif, Egypt). The biological samples<br />
were taken from indoor air of <strong>the</strong> mummy chamber as well as from <strong>the</strong> linen bandages and<br />
some deteriorated mummies from museum storage. Seven species of fungi were isolated and<br />
identified as Alternaria tenuis (9.5%), Aspergillus humicola (23.8%), Aspergillus niger<br />
(23.8%), Chaetomella horrida (9.5%), Chaetomium globosum (14.28%), Hormodendrum<br />
viride (14.28%) and Penicillium corylophilum (4.9%). It is obvious from <strong>the</strong> morphological<br />
properties and biochemical activity of <strong>the</strong> microorganisms that <strong>the</strong>y were able to decompose<br />
proteins, cellulose, fats and starch, <strong>the</strong> fundamental contents of a mummy's body. The most<br />
prominent bacteria isolated were Halococcus morrhuae (30.76%), Streptococcus pyogenes<br />
(23.07%), Micrococcus Kristinae (15.38%), Micrococcus cinereus (15.38%) and Halobacterium<br />
pharaonis (13.38).<br />
Results show that A. niger, A. humicola, H. viride, and P. corylophilum were very sensitive<br />
to <strong>the</strong> mummification material of natron salt. The growth of P. corylophilum was completely<br />
inhibited at all concentrations of benlate and thymol while A. niger and H. viride were<br />
completely inhibited at all thymol concentrations and at 100 ppm of benlate fungicide. The<br />
growth of H. viride was completely inhibited at 5 % of cedar oil.<br />
The fungal isolates of A. niger, H. viride, and P. corylophilum were found to produce various<br />
amounts of extracellular enzymes (Avicelase, CMCase and cellobiase).These enzymes play an<br />
important role in deteriorating linen bandages as well as <strong>the</strong> mummy’s body.
ABDELRAZEK ELNAGGAR et al.<br />
Research Aims<br />
Figure 1. A human mummy at Ehnasia Museum, Beni-Sweif,<br />
Egypt.<br />
Figure 2. Isolation of biological samples from a mummy at<br />
Ehnasia Museum (Beni-Sweif, Egypt).<br />
The objectives of <strong>the</strong> present investigation are to<br />
study <strong>the</strong> fungal colonization and exoenzymatic<br />
activities of some deteriorated Egyptian mummies,<br />
and <strong>the</strong> effect of mummification materials on <strong>the</strong><br />
fungal growth to determine <strong>the</strong> efficiency of <strong>the</strong>se<br />
materials in <strong>the</strong> mummification process. Fur<strong>the</strong>rmore,<br />
ano<strong>the</strong>r important aim is to study <strong>the</strong> effect<br />
of some fungicides in preservation of mummies<br />
from fungal attack.<br />
Introduction<br />
Biodeterioration is considered a great factor in <strong>the</strong><br />
decomposition of <strong>the</strong> Egyptian mummies, because<br />
fungi and bacteria grow and feed with many of<br />
<strong>the</strong>ir constituent products, such as protein, fats,<br />
starch and cellulose, which represent a stable substrate<br />
to microbial growth. There are a number of<br />
abiotic and biotic factors such as pollution, light,<br />
humidity, temperature, microorganisms, insects,<br />
etc., that have deteriorating effects on museum<br />
materials [1]. Among <strong>the</strong>se, biological agents<br />
such as actinomycetes, fungi, bacteria etc., may<br />
cause massive damage to museum objects [2].<br />
Studies on indoor aeromycoflora have attracted<br />
<strong>the</strong> attention of several aerobiologists [2-5].<br />
Martinez et al. [6] isolated a total of 469 fungal<br />
colonies from 12 mummies that presented deterioration<br />
attributed to colonizing fungi. Among<br />
<strong>the</strong> isolated fungi Penicillium, Cladosporium and<br />
Aspergillus were found. Most of <strong>the</strong>se fungi have<br />
<strong>the</strong> ability to produce various enzymes (cellulases,<br />
amylases, proteases, keratinases, etc.). Cellulase<br />
enzymes degrade cellulose found in linen bandages<br />
to double sugars and endoglaconases enzymes<br />
cut <strong>the</strong> cellulose chain in a random fashion<br />
whereas, exogluconases enzymes successively<br />
remove single cellobiose or glucose units from<br />
<strong>the</strong> non-reducing end of <strong>the</strong> cellulose chain [7,<br />
8]. Many fungi are able to cause zoonotic superficial<br />
infections as a consequence of invading<br />
keratinize tissues of skin, hair, and nails [9, 10].<br />
Materials and methods<br />
Samples<br />
Biological samples were taken from a linen-wrapped<br />
mummy, from <strong>the</strong> air of mummy chambers and<br />
from deteriorated Egyptian mummies preserved<br />
in museum storage as follows: human mummy<br />
no. 2520 and 2519 from <strong>the</strong> Ismailia Museum (Ismailiaa,<br />
Egypt); animal mummies No. 35 and 93<br />
from <strong>the</strong> El-Dokki Agriculture Museum (Cairo, Egypt)<br />
and human mummies in storage at Ehnasia Museum<br />
(Beni-Sweif, Egypt, see figures 1,2). Sampling of<br />
40 e-<strong>conservation</strong>
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
air spora surrounding <strong>the</strong> above mummies was<br />
done using <strong>the</strong> plate exposure method [11].<br />
Isolation and identification of fungal strains<br />
Swaps from linen bandages wrapped mummies<br />
were transferred aseptically to potato dextrose<br />
agar plates [12] which were used for <strong>the</strong> cultivation<br />
of bacteria and moulds. The Petri dishes were<br />
incubated at 28 ± 2 °C for 7 days for fungi and 3<br />
days for bacterial counts. Fungal isolates were<br />
later microscopically analyzed and identified [13-<br />
15]. The scheme of Buchanan and Gibon [<strong>16</strong>] was<br />
employed in <strong>the</strong> identification of bacterial isolates.<br />
The frequency occurrence of each genus<br />
was expressed as <strong>the</strong> percentage of samples containing<br />
a given organism.<br />
Effect of some materials of mummification<br />
on fungal growth<br />
Each of <strong>the</strong> following mummification materials -<br />
natron, myrrh, juniperus, Cinnamomium camphora,<br />
Arabic gum, cassia, mastic resin, and beeswax -<br />
was separately examined for its effect on <strong>the</strong> visual<br />
growth of some selected fungi isolated from <strong>the</strong><br />
mummies using PDA plates. 1 ml of spore suspension<br />
(approximately 106/ ml) of 7 days old culture<br />
was placed in a Petri dish and poured by PDA medium.<br />
After solidification 0.2 g of <strong>the</strong> mummification<br />
material was put in <strong>the</strong> centre of <strong>the</strong> dish<br />
plate (1 cm diameter) and was fumigated by UV<br />
light. Dishes were incubated at 28 ± 2°C for 7 days.<br />
The developed colonies of various fungal growths<br />
were visually determined using <strong>the</strong> following<br />
scale: + (10% growth), ++ (50% growth), +++<br />
(75% growth) and ++++ (100 % growth).<br />
Effect of some fungicides on <strong>the</strong> linear growth<br />
of fungi<br />
Three kinds of fungicides recommended for use in<br />
archaeological field were tested in this experiment<br />
at different concentrations in order to ascertain<br />
<strong>the</strong>ir effect on <strong>the</strong> growth of fungi and <strong>the</strong>ir inhabitation<br />
effect. Table 1 shows <strong>the</strong> fungicides,<br />
<strong>the</strong>ir chemical name and composition, and <strong>the</strong> concentrations<br />
used based on <strong>the</strong> active ingredient.<br />
Table 1. Characteristics of <strong>the</strong> fungicides used.<br />
Fungicide Chemical name Chemical<br />
Thymol<br />
Benlate<br />
Cedar oil<br />
Thyme camphor<br />
Benomyl<br />
Cedar camphor<br />
composition<br />
Isopropylmetacresol<br />
(CH 3 ) 2 CHC 6 H 3<br />
(CH 3 ) OH<br />
Active ingredients<br />
(%)<br />
100<br />
Methyl-1- ( Bytyl<br />
carbamyl) - 2-<br />
benzimidazole 50<br />
carbamate<br />
C 15 H 18 N 4 O 3<br />
Cedrol<br />
C 15 H 26 O 100<br />
Concentrations<br />
0<br />
25 ppm<br />
50 ppm<br />
100 ppm<br />
200 ppm<br />
6.25 ppm<br />
12.5 ppm<br />
50 ppm<br />
100 ppm<br />
0<br />
0.5 %<br />
1 %<br />
2.5 %<br />
5 %<br />
e-<strong>conservation</strong><br />
41
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
rence as follows: Chaetomium globosum and Hormodendrum<br />
viride (14.28%) and Alternaria tenuis<br />
and Chaetomella horrida (9.5%). There are many<br />
reports dealing with <strong>the</strong> microbial levels, such as<br />
Abdel-Kareem et al. [21], Cook and Rayner [22],<br />
Darwish and Sahab [23].<br />
Five bacterial species belonging to four genera<br />
were identified and classified as: Halococcus morrhuae<br />
(30.76%), Streptococcus pyogenes (23.07%),<br />
Micrococcus Kristinae, Micrococcus cinereus and<br />
Halobacterium pharaonis (15.38%).<br />
Effect of some mummification materials on<br />
visual fungal growth<br />
The data in Table 2 shows that <strong>the</strong> mummification<br />
materials have different ability to inhibit <strong>the</strong> mycelial<br />
growth of <strong>the</strong> tested fungal isolates. The<br />
five strains of A. niger, H. viride, P. corylophilum<br />
and A. humicola were very sensitive to natron salt<br />
and relatively sensitive to a Cinnnamomum camphora<br />
extract (figure 3). The natron salts had a<br />
large effect on <strong>the</strong> growth of <strong>the</strong> fungal isolates<br />
because it inhibited <strong>the</strong> fungal growth on a large<br />
area, as <strong>the</strong> NaCl present in natron salt is an historic<br />
preservation material. On <strong>the</strong> o<strong>the</strong>r hand,<br />
<strong>the</strong> same fungal isolates were less affected by<br />
myrrh and beeswax extracts and <strong>the</strong> mummification<br />
materials of Juniperus, Arabic gum and cassia<br />
extracts were found to have no effect on <strong>the</strong> tested<br />
fungal growth.<br />
Enzymatic activity<br />
Enzyme activity of cellulase production in fungal<br />
strains was measured with different substrates<br />
Figure 3. From left to right: Effect of myrrh on <strong>the</strong> growth of Aspergillus humicola, effect of cinnamomium camphora on <strong>the</strong><br />
growth of Aspergillus humicola, and effect of cinnamomium camphora on <strong>the</strong> growth of Aspergillus niger.<br />
Table 2. Effect of some mummification materials on visual fungal growth of some fungal isolates after 15 days.<br />
Fungal species<br />
Aspergillus niger (strain no.)<br />
H. viride P. corylophilum A. humicola<br />
Strain no. 1 2 3 4 5<br />
Natron + + + ++ + + ++ +<br />
Myrrh +++ ++ ++ +++ +++ ++ ++ ++<br />
Juniperus ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++<br />
Cinnamomum camphora +++ +++ +++ +++ +++ ++++ ++ ++<br />
Arabic gum ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++<br />
Cassia ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++<br />
Mistic resin ++++ ++++ ++++ ++++ ++++ +++ ++++ ++++<br />
Beeswax +++ +++ +++ +++ +++ ++ ++ +++<br />
control ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++<br />
Legend: + (10% fungal growth), ++ (50% fungal growth), +++ (75% fungal growth), ++++ (100 % fungal growth).<br />
e-<strong>conservation</strong><br />
43
ABDELRAZEK ELNAGGAR et al.<br />
(cellulose, protein, fats, and starch) to know <strong>the</strong><br />
ability of <strong>the</strong>se fungi to produce <strong>the</strong>se enzymes<br />
that react with <strong>the</strong> mummy’s skin and wrappings<br />
causing its decomposition. The results shown in<br />
Tables 3-5 reveal that all <strong>the</strong> tested fungi produced<br />
various amounts of extracellular enzymes (Avicelase,<br />
CMCase and cellobiase). The value of enzyme<br />
production depended on <strong>the</strong> fungal species and<br />
age of <strong>the</strong> culture. The ability of <strong>the</strong>se fungi to<br />
decompose casein, cellulose, oil and starch has<br />
also been confirmed by o<strong>the</strong>r researchers.<br />
a) Avicelase enzyme<br />
The tested fungi showed feeble Avicelase activity<br />
ranging from 0.041 U/ml to 0.115 U/ml for A. niger,<br />
from 0.001 to 0.143 U/ml for H. viride and<br />
from 0.009 to 0.399 U/ml for P. corylophilum after<br />
5 and 20 days respectively (Table 3). The highest<br />
activity of Avicelase was recorded for cellulose<br />
following casein substrates.<br />
b) CMCase enzyme<br />
Table 4 showed that all <strong>the</strong> tested fungi produced<br />
different values of extracellular CMCase ranging<br />
from 0.103 to 0.643 U/ml for A. niger, from 0.013<br />
to 2.050 U/ml for H. viride and from 0.010 to 1.136<br />
U/ml for P. corylophilum. The highest activity of<br />
MCase was recorded for cellulose and casein substrates.<br />
Many authors [24, 25, 26, and 27] reported<br />
that all tested fungi had <strong>the</strong> ability to decompose<br />
cellulosic materials and produce cellulase<br />
enzymes.<br />
Table 3. Effect of some substrates on Avicelase activity of some fungal strains isolated from mummies and incubated for 5, 7 and<br />
20 days at 28± 2°C.<br />
Fungal strain A. niger H. viride P. corylophilum<br />
Incubation<br />
period/day<br />
5 7 20 5 7 20 5 7 20<br />
Casein 0.027 0.114 0.115 0.093 0.05 0.105 0.027 0.114 0.046<br />
Cellulose 0.021 nd 0.08 0.109 nd 0.143 0.1197 nd 0.399<br />
Oil 0.014 0.06 nd 0.0147 0.018 0.022 0.009 0.029 0.057<br />
Starch 0.021 0.024 0.032 0.001 0.007 0.014 0.0143 0.056 0.013<br />
Nd: not determined<br />
Table 4: Effect of some substrates on CMCase activity of some fungal strains isolated from mummyies and incubated for 5, 7 and<br />
20 days at 28± 2°C.<br />
Fungal strain A. niger H. viride P. corylophilum<br />
Incubation<br />
period/day<br />
5 7 20 5 7 20 5 7 20<br />
Casein 0.311 0.321 0.643 0.643 0.571 0.06 0.122 0.322 0.099<br />
Cellulose 0.321 nd 1.210 0.205 nd 0.296 0.928 nd 1.136<br />
Oil 0.45 0.024 nd 0.09 0.013 0.013 0.01 0.028 nd<br />
Starch 0.103 0.123 0.139 0.043 0.43 0.69 0.013 0.095 0.114<br />
Nd: not determined<br />
44 e-<strong>conservation</strong>
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
Table 5: Effect of some substrates on cellobiase activity of some fungal strains isolated from mummies and incubated for 5, 7<br />
and 20 days at 28± 2°C.<br />
Fungal strain A. niger H. viride P. corylophilum<br />
Incubation<br />
period/day<br />
5 7 20 5 7 20 5 7 20<br />
Casein 4.69 5.556 5.69 0.279 0.393 3.703 0.228 0.831 5.74<br />
Cellulose 4.843 nd 6.389 0.293 nd 3.703 0.243 nd 1.179<br />
Oil 4.89 6.482 6.945 0.105 0.115 0.122 0.064 0.064 0.02<br />
Starch 7.861 5.556 5.463 0.125 0.209 0.293 1.389 2.778 4.877<br />
Nd: not determined<br />
c) Cellobiase enzyme<br />
Table 5 shows that <strong>the</strong> highest cellobiase activity<br />
(7.861 U/ml) was obtained from <strong>the</strong> culture filtrate<br />
of A. niger after 5 days on starch substrate<br />
and <strong>the</strong> lower level (4.690 U/ml) on casein. In<br />
H. viride culture filtrate <strong>the</strong> highest value (3.703<br />
U/ml) was shown on cellulose substrate and <strong>the</strong><br />
lowest level (0.105 U/ml) on oil substrate after<br />
5 days incubation period. High level of cellobiase<br />
activity (5.740 U/ml) was obtained in culture filtrate<br />
of P. corylophilum after 20 days on casein<br />
substrate and lower cellobiase (0.020 U/ml) was<br />
showed on oil after 20 days. The production of<br />
cellobiase from different fungi was reported by<br />
several authors [25, 28, 29, 30].<br />
Effect of some fungicides on <strong>the</strong> linear growth<br />
of some fungi<br />
Table 6 shows <strong>the</strong> effect of some fungicides as<br />
agar amendment on <strong>the</strong> mycelial linear growth<br />
(A. niger, H. viride and P. corylophilum). Data indicate<br />
that <strong>the</strong> antifungal activity of benlate, thymol<br />
and cedar oil against fungal growth increased<br />
with <strong>the</strong> growth in fungicide concentration. The<br />
linear growth of P. corylophilum was completely<br />
inhibited at all concentrations of benlate and<br />
thymol while <strong>the</strong> growth of A. niger and H. viride<br />
was also completely inhibited at all concentrations<br />
of thymol and benlate at 100 ppm. The growth of<br />
H. viride was completely inhibited at 5% of cedar<br />
Table 6. Effect of some fungicides on <strong>the</strong> linear fungal growth of some fungi isolated from mummies.<br />
Fungi Benlate fungicide concentration (ppm) Mean<br />
0 6.25 12.5 50.0 100.0<br />
Aspergillus niger<br />
Hormodendrum viride<br />
Penicillium corylophilum<br />
100.0 70.0 33.3 22.2 0.0<br />
100.0 80.0 72.1 60.0 0.0<br />
100.0 0.0 0.0 0.0 0.0<br />
Thymol concentration (ppm)<br />
0 25 50 100 200<br />
45.1<br />
62.4<br />
20.0<br />
Aspergillus niger<br />
Hormodendrum viride<br />
Penicillium corylophilum<br />
100.0 75.5 63.6 42.6 0.0 56.3<br />
100.0 0.0 0.0 0.0 0.0 20.0<br />
100.0 0.0 0.0 0.0 0.0 20.0<br />
e-<strong>conservation</strong><br />
45
ABDELRAZEK ELNAGGAR et al.<br />
Fungi Cedar oil concentration (%) Mean<br />
0 0.5 1.0 2.5 5.0<br />
Aspergillus niger<br />
Hormodendrum viride<br />
Penicillium corylophilum<br />
100.0 100.0 75.5 70.8 60.0<br />
100.0 100.0 80.2 20.0 0.0<br />
100.0 85.6 76.8 65.9 65.0<br />
81.3<br />
60.0<br />
78.7<br />
oil. These results are in total agreement with those<br />
reported by o<strong>the</strong>r researches on several fungi [31].<br />
Cleaning procedures<br />
Removal of microbial stains and growths over <strong>the</strong><br />
mummies has been carried out using scalpels and<br />
soft brushes accompanied with an extraction system,<br />
to reduce <strong>the</strong> spore's contamination in <strong>the</strong><br />
working area (figure 4). Cleaning started from <strong>the</strong><br />
middle to <strong>the</strong> edges to easily collect <strong>the</strong> fungal<br />
growths and dirt particles without <strong>the</strong> spread of<br />
<strong>the</strong> microbial contamination (figure 5). Isopropyl<br />
alcohol has been used to sterilize <strong>the</strong> cleaning<br />
equipment and <strong>the</strong> surrounding environments<br />
during and after cleaning (figures 6-7). White free<br />
acid papers have been place below <strong>the</strong> mummy<br />
to better collect <strong>the</strong> fungal conidia. Benlate fungicide<br />
(200 ppm) has been applied on <strong>the</strong> mummy's<br />
wrapping using a sprayer. After cleaning, mummies<br />
were covered by polyethylene to protect <strong>the</strong>m<br />
from fur<strong>the</strong>r contamination. For health and safety<br />
issues, <strong>the</strong> conservator must wear a mask, coat,<br />
goggles and gloves during cleaning to avoid inhalation<br />
of <strong>the</strong> microbial contaminants (figure 8).<br />
Figure 4. Mummy's head wrappings during cleaning.<br />
Figure 5. Mummy's wrappings after cleaning.<br />
Conclusion<br />
After isolation of <strong>the</strong> microbial species from Egyptian<br />
mummies, experimental studies confirmed<br />
<strong>the</strong> efficiency of some of mummification materials<br />
on <strong>the</strong> inhibition of fungal growth, indicating<br />
that mummification materials may also function<br />
as biocides. The study indicates <strong>the</strong> ability of <strong>the</strong><br />
Figure 6. Sterilization of <strong>the</strong> surrounding air during cleaning.<br />
46 e-<strong>conservation</strong>
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
Figure 7. Collecting and removal of dirt particles and fungal<br />
growths from a mummy.<br />
Figure 8. The necessary tools for conservator' health and<br />
safety (masks, gloves, goggles).<br />
isolated fungal strains from <strong>the</strong> Egyptian mummies<br />
to produce various amounts of extracellular enzymes<br />
(Avicelase, CMCase and cellobiase) which<br />
may lead to <strong>the</strong> decomposition of <strong>the</strong> mummy<br />
materials. Benlate, thymol and cedar oil show an<br />
ability to inhibit fungal growth. The authors would<br />
like to recommend creating better preventive <strong>conservation</strong><br />
procedures in order to preserve <strong>the</strong> mummies<br />
from future damage.<br />
References<br />
[1] A. E. David, “Conservation of mummified Egyptian<br />
Remains”, in A. R. David (ed.), in Science<br />
in Egyptology: proceedings of <strong>the</strong> Science in<br />
Egyptology Symposia, Manchester University<br />
Press, Manchester, 1986.<br />
[2] A. Arya, A. R. Shah, and S. Sadasivan, “Indoor<br />
aeromycoflora of Baroda museum and deterioration<br />
of Egyptian mummy”, Current Science<br />
81(7), 2001, URL<br />
[3] P.H. Gregory, Microbiology of <strong>the</strong> Atmosphere,<br />
Leonard Hill Books, Aylesbury, England, 1973,<br />
pp. 377<br />
[4] A. F. Sahab, F. Tawfic, S. Sahaba, and S. Mous-<br />
tafa, “Indoor fungal airospora and microorganisms<br />
communities associated with old manuscripts<br />
of GEBO of Egypt”, Journal of Agricultural<br />
Sciences 28(8), Mansoura University,<br />
2003, pp. 6055- 6063<br />
[5] K. Zielinska-Jankiewicz, A. Kozajda, M. Piotrowska,<br />
and I. Szadkowska-Stanczyk, “Microbiological<br />
contamination in moulds in work<br />
environment in libraries and archive storage<br />
facilities”, Annals of Agricultural and Environmental<br />
Medicine 15, 2008, pp. 71-78<br />
[6] R. López-Martínez, F. Hernández-Hernández,<br />
B.E. Millán-Chiu, P. Manzano-Gayosso, and L.<br />
J. Méndez-Tovar, “Effectiveness of imazalil to<br />
control <strong>the</strong> effect of fungal deterioration on<br />
mummies at <strong>the</strong> Mexico City Museum ‘El Carmen’”<br />
(article in Spanish), Revista Iberoamericana<br />
de Micología 24, 2007, pp. 283-288<br />
[7] R. A. Zabel, and J. J. Morrell, Wood microbiology:<br />
decay and its prevention, Academic<br />
Press, San Diego, 1992<br />
[8] T. Reinikainen, K. Henriksson, M. Siika-aho,<br />
O. Teleman and K. Poutanen, “Low-level endoglucanase<br />
contamination in a Trichoderma<br />
e-<strong>conservation</strong><br />
47
MICROBIAL STUDY OF EGYPTIAN MUMMIES<br />
[25] K.H. Domsch, W. Gams, and T.H. Anderson<br />
(eds), Compendium of Soil Fungi, Vol. 1, IHW-<br />
Verlag, Eching, Germany, 1993<br />
ABDELRAZEK ELNAGGAR<br />
Conservation-educator<br />
Contact: aaa02@fayoum.edu.eg<br />
[26] S. A. Ismail, Biochemical studies on Microbial<br />
β-Galactosidases, PhD Thesis, Chemistry<br />
Deptartment, Faculty of Science, Cairo University<br />
(Egypt), 1994<br />
[27] S.A. Ismail, A. F. Sahab, and S.S. Darwish,<br />
“Effect of some cultural conditions, pesticides<br />
and consolidators on growth and enzme activity<br />
of Trichoderma viride”, Modelling, Measurement<br />
and Control – C: Chemistry, Geology, Environment<br />
and Bioengineering 66 (5-6), 2005<br />
[28] C. Marinescu, and V. I. Popa, "On <strong>the</strong> biosyn<strong>the</strong>sis<br />
and characterization of cellulosic enzymes.<br />
II. Cellulase production enhancement<br />
in different biosyn<strong>the</strong>sis conditions”, Cellulose<br />
Chemistry and Technology 34, 2000, pp. 35-49<br />
[29] M. Rocha, N. Cordeiro, A.C.F. Cunha Queda,<br />
and R. Capela, “Microbiological and chemical<br />
characterization during composting of cattle<br />
manure and forestry wastes – a case study<br />
in Madeira Island”, in F. C. Jr. Michel, R. F.<br />
Rynk, and H. A. J. Hoitink (eds.), Proceedings<br />
of <strong>the</strong> 2002 International Symposium “Com<br />
posting and Compost Utilization”, The JG Press<br />
Inc., Emmaus, pp. 156-170<br />
[30] S. Y. Sahaba, Physiological studies on microorganisms<br />
isolated from deteriorated from old<br />
manscripts, Master Thesis, Faculty of Agriculture,<br />
Ain Shams University (Egypt), 1988<br />
[31] A. H. A. Ellil, and E. F. Sharaf, “Growth, Morphological<br />
Alterations and Adaptation of<br />
Some Plant Pathogenic Fungi to Benlate and<br />
Zineb. A New Look”, Journal of Biological Sciences<br />
3(3), 2003, pp. 271-281<br />
Abdelrazek Elnaggar is a conservator of organic<br />
objects, currently Assistant Lecturer at <strong>the</strong> Conservation<br />
Department of <strong>the</strong> Faculty of Archaeology<br />
at Fayoum University, Egypt. He got a Bachelor’s<br />
degree (2000) in Conservation and Restoration<br />
of Monuments and Works of Art from <strong>the</strong> Cairo<br />
University and a Master’s degree (2006) in Conservation<br />
of Egyptian mummies from Cairo University.<br />
He had a scholarship (2007/2008) in laser cleaning<br />
of ancient Egyptian Lea<strong>the</strong>r at IESL-FORTH in Greece<br />
and received a postgraduate diploma in comparative<br />
studied on cleaning techniques in relation to<br />
Laser cleaning <strong>conservation</strong> (2008/2009 UK).<br />
He has an ongoing PhD <strong>the</strong>sis focusing on <strong>the</strong><br />
laser applications to <strong>conservation</strong> of Egyptian<br />
monuments, including collaborative projects in<br />
UK with Liverpool University, Natural History<br />
Museum, Petrie museum, Imperial College, and<br />
UCL, in Italy with Politecnico di Milano, and <strong>the</strong><br />
Supreme Council of Antiquities (Egypt).<br />
AHMED SAHAB<br />
Department of Plant Path., National Research<br />
Centre, Dokki, Cairo<br />
SIHAM ISMAIL<br />
Department of Chemistry of Natural Microbial<br />
Products, National Research Centre, Dokki<br />
GAMAL MAHGOUB<br />
Conservation Department, Faculty of Archaeology,<br />
Fayoum University, Alfayoum, Egypt<br />
MOHAMMED ABDELHADY<br />
Conservation Department, Faculty of Archaeology,<br />
Cairo University, Giza, Egypt<br />
e-<strong>conservation</strong><br />
49
case study<br />
STUDY OF THE PAINTING VIRGIN MARY<br />
AND CHILD WITH THE INFANT<br />
ST. JOHN THE BAPTIST<br />
The Hidden Flora of Leonardo da Vinci’s<br />
Painting Workshop<br />
By Miklós Szentkirályi<br />
Article translated by Barbara and Stevin John Davidson and<br />
originally published in <strong>the</strong> Proceedings of <strong>the</strong> 8 th International<br />
Seminar on Restoration, that took place in September 24-26,<br />
2008 in Handlová, The Slovak Republic, organized by <strong>the</strong><br />
Chamber of Restorers.
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP<br />
Restoration of any damaged artwork should remind us of a flower garden grown with plenty of love.<br />
In both cases it is crucial to consider what has already blossomed and 'what has still to live'.<br />
This idea guided me through <strong>the</strong> process of restoration of this unusually damaged panel painting.<br />
Virgin Mary and Child with <strong>the</strong> Infant St. John <strong>the</strong> Baptist. Painting before <strong>conservation</strong>-restoration.<br />
e-<strong>conservation</strong> 51
MIKLÓS SZENTKIRÁLYI<br />
The painting in study, representing <strong>the</strong> Virgin Mary<br />
with Child Jesus and young St. John <strong>the</strong> Baptist<br />
from <strong>the</strong> collection of Szépművészeti Museum in<br />
Budapest, was never exhibited due to its advanced<br />
deterioration state and only a few people have<br />
undertaken its study. The support, made of a thin<br />
poplar panel, had caused countless vertical cracks<br />
to appear on <strong>the</strong> surface that interfered with <strong>the</strong><br />
integrity of <strong>the</strong> painting’s composition. The painting<br />
was covered with several layers of darkened<br />
varnish resulting in <strong>the</strong> alteration of <strong>the</strong> colour<br />
scheme that was only partially perceivable and<br />
<strong>the</strong> image could hardly be recognised. On a few<br />
areas <strong>the</strong> polychromy detached and <strong>the</strong> colour<br />
layer was flaking. Extensive over paintings were<br />
<strong>the</strong> characteristic sign of <strong>the</strong> advanced stage of<br />
damage of <strong>the</strong> painting’s surface. Large lacunas<br />
in <strong>the</strong> area of <strong>the</strong> sky, grazes and detachments<br />
on <strong>the</strong> face and neck of Virgin Mary and loss of<br />
colour on her cloths were critical. These damages<br />
were symptoms of a work of art which was not<br />
cared for and left to decay.<br />
Aspect of <strong>the</strong> painting after cleaning.<br />
The poor state of <strong>conservation</strong> of Mary's portrait.<br />
Aspect after <strong>conservation</strong>-restoration treatment.<br />
52 e-<strong>conservation</strong>
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP<br />
After <strong>the</strong> preliminary tests, <strong>the</strong> outstanding painting<br />
technique of this artwork became visible, with<br />
its rich colour scheme and true depiction of <strong>the</strong><br />
background landscape. But unexpected mistakes<br />
and insufficiencies were also revealed.<br />
Above: Network of fine cracks on <strong>the</strong> surface of Child’s<br />
portrait (left). Aspect after retouching (right).<br />
Below: Detail of <strong>the</strong> rich background of <strong>the</strong> painting.<br />
Based on <strong>the</strong> research done by <strong>the</strong> conservatorrestorers<br />
a proposal for <strong>the</strong> treatment of <strong>the</strong> painting<br />
was developed which was accepted by <strong>the</strong><br />
consultants.<br />
The extent of <strong>the</strong> cleaning and <strong>the</strong> complete uncovering<br />
of <strong>the</strong> original allowed a better understanding<br />
of <strong>the</strong> spiritual strength of Leonardo da<br />
Vinci (1452-1519) workshop’s creation. Observing<br />
this rediscovered artwork brings to mind a resemblance<br />
hard not to notice with both variations of<br />
<strong>the</strong> Madonna of <strong>the</strong> rocks, which can be found in<br />
<strong>the</strong> National Gallery, London and in <strong>the</strong> Louvre<br />
Museum, Paris, with <strong>the</strong>ir beautiful colour harmonies,<br />
mysterious play of lights and shades, rocks<br />
and flowers.<br />
The composition of <strong>the</strong> painting is closed with a<br />
half circle area in <strong>the</strong> upper part. The landscape<br />
contains a monolith rock towering into <strong>the</strong> sky,<br />
a beech forest, a grove and a water pothole. Virgin<br />
Mary is kneeling, raising her hands in a protective<br />
way over her Child and <strong>the</strong> young St. John <strong>the</strong><br />
Baptist, who are carelessly playing in <strong>the</strong> foreground<br />
decorated with rich flora and vegetation.<br />
e-<strong>conservation</strong> 53
MIKLÓS SZENTKIRÁLYI<br />
In background, behind <strong>the</strong> rock, <strong>the</strong>re is a river<br />
valley with a city disappearing in a bluish mist.<br />
Over <strong>the</strong> city <strong>the</strong>re is a scaffold with gallows. Fur<strong>the</strong>r<br />
in <strong>the</strong> back, bluish towers and hills, outlined<br />
according to <strong>the</strong> principles of air perspective, lose<br />
<strong>the</strong>mselves and blend with <strong>the</strong> clear blue sky.<br />
After <strong>the</strong> Madonna by Giovanni Antonio Boltraffio<br />
(1467-15<strong>16</strong>), <strong>the</strong> painting at <strong>the</strong> Museum of Fine<br />
Arts in Budapest is <strong>the</strong> closest to Leonardo’s creation.<br />
After analysing it in individual details, it<br />
became clear that it can not be <strong>the</strong> work of <strong>the</strong><br />
great master, although it is likely that he saw <strong>the</strong><br />
painting during its creation and perhaps even corrected<br />
it, since <strong>the</strong> basic idea of <strong>the</strong> composition<br />
belongs to him. In fact, a drawing from Leonardo’s<br />
sketchbook served as template for <strong>the</strong> creation<br />
of Mary’s figure [1], which could only be seen by<br />
an artist from Leonardo’s closest circle. Who this<br />
artist was is subject to future research, once <strong>the</strong><br />
painting’s known history requires more answers.<br />
Above right: Detail of <strong>the</strong> rich background of <strong>the</strong> painting.<br />
Below: Detail of Child Jesus and <strong>the</strong> young St. John <strong>the</strong><br />
Baptist playing in <strong>the</strong> rich decorated foreground.<br />
54 e-<strong>conservation</strong>
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP<br />
The only known fact is that count János Pálffy<br />
bought it in London in 1862. It was probably <strong>the</strong>n<br />
when <strong>the</strong> panel was parqueted. In 1912 <strong>the</strong> count<br />
offered it as a gift to <strong>the</strong> Szépművészeti Museum.<br />
Drawings from Leonardo's sketchbook served as a template<br />
for <strong>the</strong> creation of Mary’s figure.<br />
For a long time, <strong>the</strong> painting was considered to<br />
be <strong>the</strong> work of Leonardo’s pupil Gian Giacomo<br />
Caprotti da Oreno, known as Salai (1480-1524),<br />
although <strong>the</strong>re is no evidence for this assumption.<br />
Bernhard Berenson, who was <strong>the</strong> first recognised<br />
researcher of Italian fine art from <strong>the</strong><br />
14 th to <strong>16</strong> th century, considered (twice, in 1932<br />
and 1936) <strong>the</strong> painting to be <strong>the</strong> creation of one<br />
of Leonardo’s pupils whose work was also influenced<br />
by <strong>the</strong> Flemish art.<br />
Despite <strong>the</strong> fact that <strong>the</strong> painting was examined<br />
by specialists, we are still only uncovering analogies<br />
and stylistic analyses. The clarification of <strong>the</strong><br />
authorship will certainly be an important aspect in<br />
<strong>the</strong> study of <strong>the</strong> artwork and of <strong>the</strong> <strong>conservation</strong>restoration<br />
documentation done by <strong>the</strong> present<br />
author and his colleagues: conservator-restorer<br />
Ágnes Dicső, who has participated to <strong>the</strong> <strong>conservation</strong><br />
treatment and conservator-restorer Èva<br />
Galambos, who has performed <strong>the</strong> samples analysis<br />
of <strong>the</strong> painting.<br />
A number of people were also involved in <strong>the</strong> stylistic<br />
analysis of <strong>the</strong> painting and in <strong>the</strong> identification<br />
of <strong>the</strong> drawings and paintings from Leonardo’s<br />
workshop. Nadia Righi [2] has proved<br />
that <strong>the</strong> figure of Mary copies <strong>the</strong> shapes of <strong>the</strong><br />
drawing found on <strong>the</strong> bottom of a page from Leonardo’s<br />
sketchbook [1]. On <strong>the</strong> same page, as<br />
an independent drawing, is also pictured Child<br />
Jesus. This figure is similar with that of <strong>the</strong> Jesus<br />
from <strong>the</strong> painting, except his mirrored position.<br />
Ano<strong>the</strong>r similitude as a mirrored projection seams<br />
to be Mary’s profile to a Madonna (The Madonna<br />
Litta) from <strong>the</strong> Hermitage Museum in St. Petersburg.<br />
Fur<strong>the</strong>rmore, on <strong>the</strong> drawing template [3]<br />
of that painting an earlobe is recognizable behind<br />
<strong>the</strong> curls of her hair, which is similar to <strong>the</strong> one of<br />
our painting. It is also very likely that <strong>the</strong> concept<br />
of <strong>the</strong> composition of <strong>the</strong> young St. John <strong>the</strong><br />
Baptist, looking from behind Mary’s right side,<br />
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MIKLÓS SZENTKIRÁLYI<br />
is derived from one of Leonardo’s templates, as<br />
well as <strong>the</strong> plants pictured in <strong>the</strong> front.<br />
Before cleaning, a stratigraphic analysis was performed<br />
in order to study <strong>the</strong> paint layer structure.<br />
Mary’s face and hair were well preserved and due<br />
to <strong>the</strong>ir similarity to those of <strong>the</strong> sketch we immediately<br />
observed <strong>the</strong> under drawing, made with<br />
brown colour. The preparatory under drawing<br />
can only be found under <strong>the</strong> composition of <strong>the</strong><br />
figures, and not under <strong>the</strong> background landscape.<br />
After <strong>the</strong> removal of <strong>the</strong> thick darkened varnish<br />
layer and of <strong>the</strong> over painting, all <strong>the</strong> degradations,<br />
grazes and lacunas became obvious. The<br />
damages and <strong>the</strong> missing parts were repaired at<br />
least three times in <strong>the</strong> past, especially at <strong>the</strong><br />
level of <strong>the</strong> figures. The details of <strong>the</strong> landscape<br />
were almost completely well preserved.<br />
The retouching of <strong>the</strong> lacunas was performed gradually<br />
and only in <strong>the</strong> necessary amount, except for<br />
Mary’s neck which required a more complex reconstruction<br />
due to <strong>the</strong> fact that <strong>the</strong> colour layer<br />
was only preserved in fragmentary traces but<br />
still allowing <strong>the</strong> aes<strong>the</strong>tical revitalisation of<br />
<strong>the</strong> painting. The fine craquelure network and<br />
<strong>the</strong> slightly scuffed areas were interpreted and<br />
accepted as signs of aging with time and <strong>the</strong>refore<br />
were preserved as much as possible. Only<br />
after restoration <strong>the</strong> unique aes<strong>the</strong>tical qualities<br />
of <strong>the</strong> preserved parts of <strong>the</strong> original painting<br />
could be fully appreciated and <strong>the</strong> differences between<br />
<strong>the</strong> painting technique of <strong>the</strong> background<br />
landscape and of <strong>the</strong> figures could be evaluated.<br />
In reality, our eye is attracted more to <strong>the</strong> richness<br />
of <strong>the</strong> landscape details. The view of <strong>the</strong> nor<strong>the</strong>rn<br />
Italian city in clear blue colours, with <strong>the</strong> houses<br />
blending in a bluish mist, <strong>the</strong> uniform conception<br />
of <strong>the</strong> water surfaces and of <strong>the</strong> rocks in <strong>the</strong> background<br />
prove <strong>the</strong> demanding approach of <strong>the</strong><br />
Above: Erythronium dens-canis (en., 'dog's tooth violet', it.,<br />
'dente di cane') in <strong>the</strong> painting (left) and <strong>the</strong> biology<br />
drawing of <strong>the</strong> flower (right).<br />
56 e-<strong>conservation</strong>
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP<br />
Dianthus carthusianorum.<br />
Pinguicula vulgaris, carnivorous plant.<br />
Aquilegia vulgaris L.<br />
painter. Our attention is also drawn to smaller details<br />
such as <strong>the</strong> stones that can be counted individually<br />
in <strong>the</strong> undermined bank. A few decades<br />
earlier, <strong>the</strong> Italian masters could only have admired<br />
<strong>the</strong>se motifs in <strong>the</strong> paintings of <strong>the</strong>ir Flemish contemporaries.<br />
The depiction of <strong>the</strong> plants in <strong>the</strong> foreground proves<br />
<strong>the</strong> knowledge of botany of <strong>the</strong> renaissance artists.<br />
The colours of <strong>the</strong> flowers petals are not only a<br />
simple decoration, on <strong>the</strong> contrary, similarly to<br />
<strong>the</strong> flowers found in Leonardo’s artworks, <strong>the</strong>y<br />
can be ordered into existing families. We can recognise<br />
Dianthus carthusianorum, favored flower<br />
of monastery gardens with its lance-shaped leaves,<br />
with two stamens between its bright two petals.<br />
Pictured in a more humble way is <strong>the</strong> Erythronium<br />
dens-canis next to it. In Italian, dente di cane<br />
is a protected plant named according to its bulb,<br />
similar to a dog’s tooth with smaller side bulbs<br />
placed deep into <strong>the</strong> ground, which in spring time<br />
is an embellishment of <strong>the</strong> hornbeam forests. To<br />
<strong>the</strong> right <strong>the</strong>re is a Pinguicula vulgaris, a carnivorous<br />
plant found in marshlands and peat bogs.<br />
On <strong>the</strong> left side of <strong>the</strong> painting is wonderfully<br />
painted Aquilegia vulgaris L. whose composition<br />
is almost identical to <strong>the</strong> same flower from Leonardo’s<br />
painting Leda.<br />
e-<strong>conservation</strong> 57
MIKLÓS SZENTKIRÁLYI<br />
Virgin Mary and Child with <strong>the</strong> Infant St. John <strong>the</strong> Baptist. Painting after restoration.<br />
58 e-<strong>conservation</strong>
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP<br />
Several similarities remind of <strong>the</strong> spirit of Leonardo’s<br />
workshop’s creation, strongly spiced up<br />
by a nor<strong>the</strong>rn Italian master. This fact became clear<br />
during <strong>the</strong> three years of restoration. The difference<br />
between <strong>the</strong> figures and <strong>the</strong> background<br />
composition is a strong sign of different creative<br />
approaches. While <strong>the</strong> painter’s grasp of <strong>the</strong> figures<br />
is generous, <strong>the</strong> painting technique being<br />
related to Leonardo’s understanding, <strong>the</strong> background<br />
landscape is carefully composed and a rich<br />
vegetation is portrayed. The exhaustive knowledge<br />
of <strong>the</strong> perspective rules, botany and <strong>the</strong><br />
naturalistic depiction of <strong>the</strong> landscape are signs<br />
of a master who had acquired <strong>the</strong> practical experience<br />
of painters from nor<strong>the</strong>rn countries before<br />
having contact with Leonardo’s workshop.<br />
The panel painting, restored thanks to <strong>the</strong> Adam<br />
Clark’s Foundation, was first introduced toge<strong>the</strong>r<br />
with <strong>the</strong> restoration documentation at a temporary<br />
exhibition in 2007. Since 2008 it is exhibited<br />
in a room toge<strong>the</strong>r with Raphael's "Esterhazy<br />
Madonna", as part of <strong>the</strong> permanent collection<br />
of Italian renaissance.<br />
Detail of Mary's portrait and <strong>the</strong> landscape after restoration.<br />
MIKLÓS SZENTKIRÁLYI<br />
Conservator-restorer<br />
Contact: miklos.szentkiralyi@szepmuveszeti.hu<br />
References<br />
[1] Leonardo da Vinci, “Studies for <strong>the</strong> Nativity<br />
(recto); Three Geometrical Diagrams and a<br />
Caricature of a Head (verso), 1480–85”, The<br />
Metropolitan Museum of Art, Rogers Fund,<br />
1917 (17.142.1), available at URL<br />
[2] Nadia Righi, “Opere d'arte lombarda nei<br />
musei italiani e stranieri: Szépmüveszéti<br />
Múzeum, Budapest; la collezione Pálffy”,<br />
Arte Lombarda, N.S. 117, 2, 1996, pp. 123-<br />
124<br />
[3] Codex Vallardi, accession number 2376,<br />
Louvre Museum<br />
Miklós Szentkirályi is a conservator-restorer of<br />
paintings and Head of <strong>the</strong> Department of Restoration<br />
at <strong>the</strong> Szépművészeti Múzeum (Museum of<br />
Fine Arts), Budapest. He initiated his training in<br />
1968-1973 in Painting studies at <strong>the</strong> Academy<br />
of Fine Arts “Ion Andreescu” in Cluj-Napoca, Romania,<br />
at <strong>the</strong> Master class of prof. Gábor Miklóssy,<br />
painter artist, and in 1974-1977 he performed an<br />
M.A. in Conservation Arts, specializing in paintings,<br />
at <strong>the</strong> Department of Conservation Training<br />
at <strong>the</strong> Hungarian Academy of Fine Arts, Budapest,<br />
in <strong>the</strong> master class of professor Dezső Varga. In<br />
2006 he obtained Dr. Habil. (D.Sc. Equivalent)<br />
from <strong>the</strong> Hungarian Art University. He is also a<br />
member of <strong>the</strong> Hungarian Art Academy since<br />
2010.<br />
e-<strong>conservation</strong><br />
59
"THE ANNUNCIATION"<br />
BY COLA PETRUCCIOLI (1380)<br />
The Restoration of <strong>the</strong> Transferred Wall<br />
Painting<br />
by Ildikó Jeszeniczky<br />
Restoration done by Ildikó Jeszeniczky and Kornélia Forrai<br />
Article translated by Barbara and Stevin John Davidson and originally published<br />
in <strong>the</strong> Proceedings of <strong>the</strong> 8 th International Seminar on Restoration, that took<br />
place in September 24-26, 2008 in Handlová, The Slovak Republic, organized<br />
by <strong>the</strong> Chamber of Restorers.
"THE ANNUNCIATION" BY COLA PETRUCCIOLI<br />
Introduction<br />
In <strong>the</strong> 90ies of <strong>the</strong> 19 th century, Károly Pulszky,<br />
<strong>the</strong> <strong>the</strong>n director of <strong>the</strong> State Gallery in Budapest,<br />
enriched <strong>the</strong> collection of <strong>the</strong> Gallery with many<br />
art objects, panel paintings and frescoes, which<br />
he bought during his travels in Italy from palaces<br />
and churches condemned for demolition or assigned<br />
for reconstruction.<br />
Artworks got into his hands mainly through antiquity<br />
dealers, so not always he managed to find<br />
out <strong>the</strong>ir origin. Sometimes, such as in <strong>the</strong> case of<br />
<strong>the</strong> Annunciation wall painting, he discovered <strong>the</strong>m<br />
in situ and ordered <strong>the</strong>ir removal directly from <strong>the</strong><br />
original building and <strong>the</strong>ir following restoration.<br />
In September 1894, through <strong>the</strong> antiquarian<br />
Marian Rocchi, he purchased <strong>the</strong> Annunciation<br />
fresco, located on a side wall, toge<strong>the</strong>r with <strong>the</strong><br />
frescoes of allegoric women’s figures originally<br />
painted on <strong>the</strong> ceiling of <strong>the</strong> first floor of Palazzo<br />
Isidori in Perugia.<br />
The wall painting transferred onto canvas is now<br />
in Budapest, kept as an important example of<br />
<strong>the</strong> late Gothic Umbrian painting. According to<br />
<strong>the</strong> catalogue of <strong>the</strong> Szépművészeti Museum, <strong>the</strong><br />
artwork was created around <strong>the</strong> year 1380 by <strong>the</strong><br />
artist Cola Petruccioli for <strong>the</strong> wall of <strong>the</strong> first floor<br />
of <strong>the</strong> palace, originally used as a chapel.<br />
The scene is depicted in a Gothic interior, on <strong>the</strong><br />
left side a kneeling angel brings <strong>the</strong> message to<br />
Mary, who is represented on <strong>the</strong> right side of <strong>the</strong><br />
painting sitting in front of a lecture dais. In <strong>the</strong><br />
missing part it was probably painted <strong>the</strong> dove of<br />
<strong>the</strong> Holy Ghost. The painting was executed in fresco<br />
technique and is decorated around <strong>the</strong> edges with<br />
repeated motifs. The plaster haloes were covered<br />
with a coloured metal leaf which could be used<br />
as an imitation of gold.<br />
Palazzo Isidori, Perugia.<br />
In <strong>the</strong> past decade art historians succeed to locate<br />
<strong>the</strong> Palazzo Isidori in Perugia, where <strong>the</strong> restoration<br />
of <strong>the</strong> remaining frescoes from <strong>the</strong> series of<br />
wall paintings is now undergoing.<br />
About <strong>the</strong> sale and transfer of <strong>the</strong> wall paintings a<br />
few written documents were preserved, <strong>the</strong> oldest<br />
from <strong>the</strong> year 1871 in which <strong>the</strong> owner Francesco<br />
Bassardini reports in a letter to <strong>the</strong> mayor<br />
that he intends to remove some of <strong>the</strong> frescoes<br />
from <strong>the</strong> first floor of <strong>the</strong> palace and sell <strong>the</strong>m to<br />
<strong>the</strong> city. As <strong>the</strong> mayor did not respond to Bassardini’s<br />
letter <strong>the</strong> inheritors repeated <strong>the</strong> offer a<br />
few years later. In May 1889, <strong>the</strong> government of<br />
<strong>the</strong> city Perugia named a delegation with three<br />
specialist members to judge <strong>the</strong> state and importance<br />
of <strong>the</strong> frescoes. The report of <strong>the</strong> specialists<br />
and <strong>the</strong> request of <strong>the</strong> owners was not enough to<br />
persuade <strong>the</strong> mayor to buy <strong>the</strong> frescoes. Five years<br />
later, Károly Pulszky appreciated <strong>the</strong>ir artistic<br />
value, ordered <strong>the</strong>ir detachment and paid <strong>the</strong>ir<br />
purchase price.<br />
e-<strong>conservation</strong><br />
61
BY ILDIKÓ JESZENICZKY<br />
Conservation-restoration<br />
In <strong>the</strong> summer of 2005, toge<strong>the</strong>r with <strong>the</strong> colleague<br />
Kornélia Forray, <strong>the</strong> present author was entrusted<br />
<strong>the</strong> restoration of this wall painting by <strong>the</strong> museum.<br />
The restoration works were preceded by a<br />
series of detailed analysis and investigations. The<br />
research comprised <strong>the</strong> identification and ga<strong>the</strong>ring<br />
of all possible documents, art historical researches<br />
and archival photographs, and <strong>the</strong> collection<br />
of <strong>the</strong> restoration documentation of <strong>the</strong><br />
frescoes from this cycle, such as procedures reports<br />
and specialised articles. In <strong>the</strong> summer of<br />
2005 we travelled to Perugia to study in situ <strong>the</strong><br />
fragments of frescoes from Palazzo Isidori belonging<br />
to <strong>the</strong> same cycle of wall paintings as The Annunciation,<br />
which were uncovered in 1994.<br />
We were guided through <strong>the</strong> palace by Ms. Paola<br />
Passalaqua, responsible of <strong>the</strong> frescoes <strong>conservation</strong>.<br />
The palace is owned by <strong>the</strong> University of<br />
Perugia and at <strong>the</strong> time of our visit it was under<br />
renovation. The research performed on site was<br />
helpful in drawing up <strong>the</strong> restoration proposal<br />
and also influenced <strong>the</strong> proceeding of <strong>the</strong> individual<br />
stages of restoration itself. An important<br />
aspect was <strong>the</strong> surveying of <strong>the</strong> uneven surface<br />
of <strong>the</strong> preserved wall paintings fragments. We<br />
could see that <strong>the</strong> surface is not smooth, but also<br />
not as wavy as of <strong>the</strong> Annunciation, and that <strong>the</strong>y<br />
have quite different characters. We came to <strong>the</strong><br />
conclusion that <strong>the</strong> surface of <strong>the</strong> in situ fresco<br />
fragments is wavy due to <strong>the</strong> influence of <strong>the</strong><br />
masonry and <strong>the</strong> plastering method, while <strong>the</strong><br />
waving of <strong>the</strong> transferred painting was created<br />
unambiguously by <strong>the</strong> creasing of <strong>the</strong> canvas.<br />
Ms. Paola Passalaqua explained <strong>the</strong> difficulties<br />
met during <strong>the</strong> reattachment and <strong>conservation</strong><br />
of <strong>the</strong> wall paintings, such as <strong>the</strong> detachment of<br />
individual layers that lost adherence amongst<br />
<strong>the</strong>mselves and to <strong>the</strong> wall, and <strong>the</strong> weakened<br />
The Annunciation, photography in grazing light.<br />
62 e-<strong>conservation</strong>
"THE ANNUNCIATION" BY COLA PETRUCCIOLI<br />
binding of <strong>the</strong> plaster. These problems were similar<br />
to those experiences by us with <strong>the</strong> thin intonaco<br />
that was removed toge<strong>the</strong>r with <strong>the</strong> paint layer,<br />
which was also very brittle.<br />
During our visit, we also surveyed <strong>the</strong> net system<br />
used for attachment of <strong>the</strong> plaster on <strong>the</strong><br />
ceiling and <strong>the</strong> ways of making and laying <strong>the</strong><br />
beams.<br />
Based on <strong>the</strong> stylistic and technical analysis of<br />
<strong>the</strong> Annunciation fresco we concluded that it was<br />
undoubtedly created in <strong>the</strong> same period as <strong>the</strong><br />
preserved fragments, with which it is related in a<br />
number of morphological details such as, for example,<br />
<strong>the</strong> decorative frame with a bordure motif.<br />
If we compare <strong>the</strong> fragments preserved in situ and<br />
<strong>the</strong> allegoric female figures from <strong>the</strong> ceiling with<br />
<strong>the</strong> depiction of <strong>the</strong> Annunciation, it is obvious<br />
that <strong>the</strong> latter can be considered <strong>the</strong> most important<br />
piece of <strong>the</strong> series because of its location within<br />
<strong>the</strong> fresco ensemble. Written documents mention<br />
that by entering <strong>the</strong> Palazzo, <strong>the</strong> visitor first<br />
laid eyes on this centrally positioned painting.<br />
The painting was probably seriously damaged by<br />
<strong>the</strong> transfer. The choice of <strong>the</strong> finely woven canvas<br />
onto which <strong>the</strong> fresco was transferred was not <strong>the</strong><br />
best one due to <strong>the</strong> bad properties of <strong>the</strong> canvas.<br />
It was probably due to this reason that <strong>the</strong> painting<br />
of <strong>the</strong> allegoric female figures from <strong>the</strong> ceiling<br />
was embedded in plaster on copper net after<br />
having been transferred. The size of <strong>the</strong> painting<br />
today is <strong>16</strong>2 x 238 cm. It was glued onto a roughly<br />
woven sackcloth and it was stretched onto a frame<br />
reinforced on <strong>the</strong> middle, with <strong>the</strong> possibility of<br />
additional stretching by <strong>the</strong> insertion of corner<br />
wedges. The stretcher was damaged in several<br />
places. The back side was coated with a thick layer<br />
Right: Details of Mary's hair and angel's portrait.<br />
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UV luminescence of <strong>the</strong> Annunciation.<br />
of lithopone mixed with bone glue. This was done<br />
most likely to stabilise <strong>the</strong> fabric.<br />
The stretcher was crimped and hardened on its<br />
entire surface, with many depressions and uneven<br />
areas. The layer of <strong>the</strong> plaster was strongly<br />
fissured and <strong>the</strong> material compactness was weak.<br />
On big areas (e.g. on Mary’s cloths, on <strong>the</strong> area<br />
of a stain as big as a few palms, between two figures<br />
about a half square meter, along <strong>the</strong> cracks,<br />
etc.) <strong>the</strong> original plaster and <strong>the</strong> colour layer were<br />
completely missing. A prolonged joint is visible<br />
in <strong>the</strong> middle of <strong>the</strong> painting, on <strong>the</strong> side of <strong>the</strong><br />
angel, proving that <strong>the</strong> fresco was removed in two<br />
parts and was connected again after detachment.<br />
In this area, <strong>the</strong> tones of <strong>the</strong> retouches applied<br />
during various interventions altered with time<br />
and <strong>the</strong> entire surface was dirty.<br />
IR reflectography of <strong>the</strong> portraits.<br />
The documentation comprising non-destructive<br />
analysis of <strong>the</strong> painting (by grazing light, UV luminescence<br />
and IR photography) and <strong>the</strong> results<br />
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of <strong>the</strong> laboratory analysis were <strong>the</strong> basis for defining<br />
<strong>the</strong> intervention methodology, <strong>the</strong> choice<br />
of materials used and technologies.<br />
The UV luminescence showed <strong>the</strong> existence of<br />
various restoration interventions, <strong>the</strong> presence<br />
of dirt and <strong>the</strong> extent of degradation of <strong>the</strong> <strong>conservation</strong><br />
materials which were visible in different<br />
colour tones. According to historical documents,<br />
traces of 4 to 5 interventions could be identified.<br />
IR reflectography of some details of <strong>the</strong> Annunciation.<br />
IR photography revealed <strong>the</strong> underdrawing and<br />
<strong>the</strong> various pigments that appeared in different<br />
characteristic colours and depths. The cross-sections<br />
of pigment and powder samples gave information<br />
about <strong>the</strong> visible layers of colours and plaster,<br />
<strong>the</strong> particle size of <strong>the</strong> pigments and <strong>the</strong>ir<br />
optical properties.<br />
It was assessed that <strong>the</strong> wall painting was detached<br />
with <strong>the</strong> plaster and that <strong>the</strong> original pigments<br />
were:<br />
- Cinnabar, found on Mary’s clo<strong>the</strong>s. This natural,<br />
mineral pigment was, according to Andrea Pozzo,<br />
“a very popular colour, but unstable with lime. If<br />
<strong>the</strong> painting is under a roof, it is likely to be used,<br />
but it has to be adjusted for wall painting in this<br />
way: put <strong>the</strong> pigment dust into a ceramic container<br />
and pour over water which you use for slaking of<br />
<strong>the</strong> lime; strain it off and again add lime water<br />
and repeat this a few times. In this way <strong>the</strong> cinnabar<br />
connects with <strong>the</strong> properties of <strong>the</strong> lime<br />
and will never lose <strong>the</strong>m”.<br />
- Natural lapis lazuli, found on Mary’s cloak and<br />
on <strong>the</strong> ribbon of <strong>the</strong> angel’s clo<strong>the</strong>s. This pigment<br />
was spread in Europe mainly in medieval times,<br />
although it can sporadically be found also in<br />
baroque paintings. The use of this pigment suggests<br />
a rich sponsor as it was used only in small<br />
amounts and only in quality artworks.<br />
- Ferric red, on <strong>the</strong> angel’s cloak. This natural earthy<br />
pigment, ferric oxide, is named according to <strong>the</strong><br />
locality where it is found. The colour changes according<br />
to <strong>the</strong> content of hydrides and anhydrides.<br />
Pozzo describes it as “red ochre (Terra rossa), like<br />
o<strong>the</strong>r earthy colours, is great for fresco. It is used<br />
for flesh, drapery and also for o<strong>the</strong>rs”.<br />
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- Natural sienna, used for Mary’s hair. It is a special<br />
ochre, which is named after a well-known Tuscany<br />
city. By microscopic and chemical analysis<br />
it is ordered into <strong>the</strong> same group of pigments as<br />
ferric oxide. By Pozzo, “it is used for shading of<br />
yellow draperies.”<br />
- Yellow ochre, found on Mary’s lecture dais. It is<br />
a hydrate of ferric oxide with various composition.<br />
Pozzo defines it as “light yellow ochre is <strong>the</strong> pigment<br />
with light yellow and dark yellow colour,<br />
which is found in <strong>the</strong> surroundings of Rome”.<br />
The presence of ochre was also confirmed with UV<br />
due to its typical colour luminescence . Analysis<br />
of its additives (soil, silicates, etc.) explains <strong>the</strong><br />
creation of <strong>the</strong> blisters and <strong>the</strong> detachment of <strong>the</strong><br />
layer of ochre.<br />
- Green earth, used at <strong>the</strong> background behind<br />
<strong>the</strong> reading dais. A typical earthy pigment, it is<br />
mentioned by Pozzo as “in fresco painting <strong>the</strong><br />
only green colour for painting draperies is from<br />
Verona, because all o<strong>the</strong>r artificially made colours<br />
do not tolerate lime”. We suppose that it<br />
was also used for obtaining <strong>the</strong> flesh tones.<br />
Detail of <strong>the</strong> back of <strong>the</strong> painting in grazing light.<br />
- White. Highlights were obviously made with<br />
lime, calcium carbonate. Different variations are<br />
known: chalk, lime, shell, egg shell, corals, etc.<br />
Consolidation with Plextol B500 of Mary's plaster halo.<br />
- Carbon black, pigment found in <strong>the</strong> layers of<br />
under painting and mixed in some colours, as<br />
wooden coal.<br />
After securing and injecting <strong>the</strong> detached layers<br />
of <strong>the</strong> plaster and colour, it was proceeded to <strong>the</strong><br />
removal of <strong>the</strong> painting from <strong>the</strong> old stretcher<br />
frame. The detached creases of <strong>the</strong> canvas were<br />
impregnated with BEVA 371 which was also used<br />
to reinforce and stabilize <strong>the</strong> edges, by ironing<br />
strips of linen canvas onto <strong>the</strong> original canvas<br />
support.<br />
Thus, <strong>the</strong> painting was stretched onto a new, temporary<br />
support made-to-measure so that in its<br />
stretched state we could eliminate <strong>the</strong> characteristics<br />
that were improper to a fresco painting,<br />
mainly <strong>the</strong> unevenness of <strong>the</strong> surface, without<br />
<strong>the</strong> possible creasing of <strong>the</strong> canvas. While on horizontal<br />
position <strong>the</strong> painting was steamed and<br />
softened after a gradual stretching using <strong>the</strong><br />
corner wedges, and it was weighted down with<br />
marble plates. This process was repeated a few<br />
times within one month.<br />
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Flattening of <strong>the</strong> canvas around <strong>the</strong> edges and of <strong>the</strong> surface by <strong>the</strong> application of heavy weights.<br />
The painting was altered by various <strong>conservation</strong><br />
materials from <strong>the</strong> numerous interventions and<br />
retouched a few times. Cleaning was only possible<br />
by <strong>the</strong> application of poultices with ammonium<br />
carbonate and ammonium hydroxide. Selecton B<br />
mixed with diatomic soil 1 was applied onto <strong>the</strong><br />
painting surface on 2 – 3 dm 2 and after a certain<br />
time <strong>the</strong> dirt was washed off with water. After<br />
cleaning it was possible to assess <strong>the</strong> real state<br />
of degradation and <strong>the</strong> extent of damages in proportion<br />
with <strong>the</strong> original parts, but also <strong>the</strong> richness<br />
and <strong>the</strong> fine harmony characteristic for <strong>the</strong><br />
colour scheme of this painting.<br />
Cleaning was proceeded by <strong>the</strong> consolidation of<br />
<strong>the</strong> powdering plaster and <strong>the</strong> correction of <strong>the</strong><br />
deformed halos, which were pressed back into<br />
shape in wet state. The canvas detached from<br />
<strong>the</strong> plaster was consolidated from <strong>the</strong> back and<br />
secured on its position with Plextol B500 adhesive.<br />
The missing parts of <strong>the</strong> plaster were filled and<br />
<strong>the</strong> whole was reinforced with thin woven textile<br />
made of artificial threads.<br />
A project was developed for a new stretcher with<br />
reinforcement on <strong>the</strong> back and <strong>the</strong> possibility of<br />
stretching by inserting additional wedges. The<br />
Cleaning of <strong>the</strong> painting by <strong>the</strong> application of poultices with Selecton B and diatomic soil (left) and aspect after cleaning (right).<br />
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BY ILDIKÓ JESZENICZKY<br />
Above: Cleaning of <strong>the</strong> painting by <strong>the</strong> application of poultices with solvent.<br />
Below: Consolidation and backing of <strong>the</strong> edges with Beva 371 and stripes of new canvas. Integration of <strong>the</strong> missing areas was<br />
done by filling with mortar similar in grain and texture with <strong>the</strong> original.<br />
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"THE ANNUNCIATION" BY COLA PETRUCCIOLI<br />
stretching of <strong>the</strong> painting was performed by applying<br />
strips of canvas with adhesive on <strong>the</strong> edges<br />
in order to streng<strong>the</strong>n <strong>the</strong>m, edges that were<br />
<strong>the</strong>n folded back and ironed onto <strong>the</strong> original<br />
canvas. The painting was <strong>the</strong>n mounted onto <strong>the</strong><br />
stretcher by hammering metal grommets and<br />
screws in doubled layer of canvas of <strong>the</strong> edges.<br />
The aes<strong>the</strong>tical treatment started by filling <strong>the</strong><br />
lacunas of <strong>the</strong> plaster in all those places where its<br />
stability required it. The mortar used was made of:<br />
1 part of quartzite powder, 1 part of calcite powder,<br />
1 part of kaolin, 3 parts of dolomite 2 , rabbit glue<br />
7% and a little Plextol B500.<br />
Aspect of <strong>the</strong> painting after transfer onto <strong>the</strong> new stretcher<br />
and cleaning of <strong>the</strong> surface.<br />
Where possible, <strong>the</strong> missing parts were retouched for aes<strong>the</strong>tical purposes. From left to right: before <strong>conservation</strong>, after filling<br />
<strong>the</strong> lacuna and during retouching, and final aspect after reintegration by tratteggio.<br />
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BY ILDIKÓ JESZENICZKY<br />
Detail after <strong>conservation</strong>-restoration. Angel (above) and<br />
portrait of Virgin Mary (below right).<br />
The aes<strong>the</strong>tical approach was based on consulting<br />
with specialists and on <strong>the</strong> experience accumulated<br />
during one year treatment of <strong>the</strong> painting. We got<br />
to <strong>the</strong> conclusion that due to <strong>the</strong> unsatisfactory<br />
amount of information on <strong>the</strong> morphology of <strong>the</strong><br />
original painting, <strong>the</strong> largest lacunas will not be<br />
reconstructed, <strong>the</strong>se areas being better integrated<br />
into <strong>the</strong>ir surrounding by filling with neutral plaster.<br />
Smaller lacunas which could be surely retouched<br />
according to <strong>the</strong>ir surrounding context, were reconstructed<br />
for <strong>the</strong> sake of <strong>the</strong> aes<strong>the</strong>tical integrity.<br />
The architecture and interior furnishing surrounding<br />
<strong>the</strong> figures were represented without<br />
perspective, according to <strong>the</strong> style of <strong>the</strong> époque;<br />
after sketching <strong>the</strong> system of <strong>the</strong> composition,<br />
some of its parts could be reconstructed.<br />
The grazed parts were retouched only in those<br />
cases when <strong>the</strong>ir image was disturbing <strong>the</strong> reading<br />
of <strong>the</strong> painting.<br />
Besides <strong>the</strong> preservation of <strong>the</strong> original material<br />
quality, our main goal was to re-establish of <strong>the</strong><br />
author’s original intent, returning <strong>the</strong> internal<br />
balance of <strong>the</strong> painting’s aes<strong>the</strong>tical value that<br />
mediates <strong>the</strong> metaphysical message.<br />
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Angel. Detail after <strong>conservation</strong>-restoration.<br />
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BY ILDIKÓ JESZENICZKY<br />
Virgin Mary. Detail of <strong>the</strong> painting after restoration.<br />
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e-<strong>conservation</strong>line
No. <strong>16</strong>, October 2010<br />
LICENCE<br />
ISSN: <strong>16</strong>46-9283<br />
Registration Number<br />
125248<br />
Entidade Reguladora<br />
para a Comunicação Social<br />
Property<br />
e-<strong>conservation</strong>line, Teodora Poiata<br />
Periodicity<br />
Bimonthly<br />
Cover<br />
Detail from <strong>the</strong> detached mural painting The Annunciation<br />
by Cola Petruccioli (1380), Szépművészeti Museum, Hungary.<br />
Photo by Ildikó Jeszeniczky<br />
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