E-Conservation Magazine - 8

e_conservation
the online magazine No. 8, February 2009
Digging out conservation
In this issue we have included two articles concerning conservation of archaeological objects. The first reports a volunteer programme for conservation of archaeological sites in developing countries while the second describes the study of a Neolithic terracotta figurine. These projects are fine examples of good collaboration, understanding and mutual respect between archaeologists and conservators. However, archaeology and conservation cooperation is not always easy. Although both archeologists and conservators are committed to the safeguarding of cultural heritage, they often find themselves in opposing positions. The primary purpose of the archaeologist is the retrieval of information from the object while the conservators is the preservation of the object itself. This slight difference has created an ongoing conflict that often makes the archaeologist see the conservators work as of lesser importance. This may be a major potential discussion issue as these two concerns information retrieval and object preservation may not be easily reconciled. In extreme cases the study of the object may be harmful for its physical state while in conservation procedures information may be lost in order to salvage the object. Although it is not my personal field, I have not seen this to be a prolific area of discussion so I imagine that many of these conflicts are limited to the on-site level and not often brought to an academic level of discussion. The lack of professional recognition is also an important issue that is implicit in the collaboration between these different professions. Evidence of this is found in the multiple short courses about conservation of objects, commonly of ceramic materials, some of which are specifically designed for archaeologists who often replace conservators in archaeological diggings. In fact, the practical experience of a qualified conservator may not be acquired in a short course nor for that matter is the work limited to post-excavation treatments but is also important during the excavation when the safeguarding of many objects may be at stake. Professional recognition is closely related to the history and maturity of each profession. Archaeology has been a recognized profession since the XIX century but the conservators role has only recently been accepted and it is still unfamiliar to the general public. I believe that this subjective but strong reason may also be the originator of many misconceptions. In my opinion, and I believe that of many other professionals, the best results may only be achieved if conservators are recognized as equal stakeholders and are fully integrated within the teams they are engaged in. Our profession is now reaching maturity; it has evolved and the background of its evolution is very important. We, as conservators, must be aware of our own history, which sometimes gets forgotten or remains unknown to younger professionals or students. In relation to this subject, the present article of Hans-Christoph von Imhoff is a valuable up-to-date of the current situation at present, and helps to better understand where and why we conservators are right now on the historic timeline. This is a subject of reflection that needs to grow in the public awareness. Rui Bordalo, Executive Editor
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www.prorestauro.com
INDEX
NEWS
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CONFERENCE REVIEWS Salt Weathering on Buildings and Stone Sculptures 22-24 October 2008, Copenhagen, Denmark
Review by Anca Nicolaescu
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Cultural Heritage: Applications on Conservation-Restoration 3 December 2008, Lisbon, Portugal

Review by Rui Bordalo
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ANNOUNCEMENTS UPCOMING EVENTS February - March 2009 Conservators without Borders A Dynamic Approach to Archaeological Conservation
By Dominica DArcangelo, Christie Pohl and Melina Smirniou
EVENTS PROJECTS
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ARTICLES
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CONSERVATION OF ARCHAEOLOGICAL OBJECTS Terracotta Figurine in 'Pietrele'

By Cristina Georgescu
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CONSERVATION HISTORY Aspects and Development of Conservator-Restorers Profession since WWII

By Hans-Christoph von Imhoff
CASE STUDY
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The Conservation of the Exterior Mural Paintings of Coltea Church A Minimal Intervention Approach to Aesthetic Presentation
By Simona Patrascu and Teodora Poiata
BOOK REVIEW
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Decolonizing Conservation Caring for Maori Meeting Houses outside New Zealand
Review by Daniel Cull
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LACONA VII Proceedings Lasers in the Conservation of Artworks

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SALT WEATHERING ON BUILDINGS AND STONE SCULPTURES

Reviewed by Anca Nicolaescu
The conference 'Salt Weathering on Buildings and Stone Sculptures' addressed the complex problem of built heritage and stone sculpture deterioration due to salts action and consequently the assessment and development of conservation procedures. The event was hosted by the National Museum of Denmark, having as organizers the Technical University of Denmark, the National Museum, Building Heritage of Denmark, Palaces and Properties Agency and the Royal Danish Academy School of Conservation and took place in last October, in Copenhagen. Besides the optimal meeting venue and other facilities the National Museum of Denmark comprises, a new exhibition concept with interactive workshops was experienced. Conservators were moving into the museums large exhibition hall, where functioning workshops were giving visitors a unique opportunity to "look over conservators shoulders". This was a great chance for the large public to ask questions and thus discover the hidden side of conservation profession, analytical methods and materials. The conference in Copenhagen successfully brought together a broad range of scientific contributions and case studies in a multifaceted effort to fill up the gap between theory and practice; the situations in practice are much more complex than usually assumed by the theoretical models. Salt weathering represents one of the most important concerns in the field
22-24 October 2008, Copenhagen, Denmark Organizers: The Technical University of Denmark, the National Museum of Denmark, Building Heritage of Denmark, Palaces and Properties Agency and the Royal Danish Academy School of Conservation. The conference was scientifically sponsored by RILEM and financially by Knud Hjgaards Fond. http://www.swbss.dk
A view of the museum from Frederikholms Kanal; photo National Museum of Denmark.
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of building conservation (including mural paintings or/and sculpture decoration), from both damage as well as treatment complexity point of view. Therefore, the conference followed up closely the ways of enhancement of desalination treatments efficiency, derived from case studies with the support of laboratory experiments. The three days conference was divided in sessions which covered all the important topics regarding salts deterioration issues within built heritage or stone sculpture. Starting with the mechanism of Decay and Transport of Salts the topics moved to Materials analysis and diagnosis of damages in the second day and ended with Hands on Conservation and Methods of repair. The conference began with "A review of salt transport in porous media, assessments methods and salt reduction treatments", a presentation given by Alison S. Heritage from Cologne University of Applied Science (Germany). It was a key note presentation, describing the current scientific understanding of salt and moisture transport processes and the extent to which this knowledge can bring feedback into the practical arena, to aid the conservator. In the section Transport of salts the European project "Desalination" was presented by Anne Bourges from Laboratoire de Recherche des Monuments Historiques (France). Five case studies done at Saint Philibert Church in Dijon, which were illustrated comparing the effectiveness of desalination systems (poultices), strongly underlined the close link between the effectiveness of desalination treatments and the proprieties of both stones and poultice materials. Connected with the first topic of the conference, another very interesting research regarding the wind speed factor in salt damage in general and
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Image from the temporary exhibition Yours Forever? Workshops for the Past (upper). The Museum main hall (lower).
salt damage at Petra monuments in particular, was presented by Dr. Fadi Balaawi, Hashemite University, Zarqa-Jordan. The research was done to evaluate the role of wind speed in salt crystallization and distribution. It presented a detailed monitoring of the microclimate condition and its role in the salt distribution at selected monuments in Petra, in order to understand the extent and mechanism of salt damage. The results have shown the importance of including the wind speed factor
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C.M. Grossi from the School of Environmental Sciences (UK) presenting "Future climate and salt damage to European buildings" (left ). Ioannis Ioannou from University of Cyprus, presenting "Studies of salt crystallisation in natural building stones" (above).
in salt weathering simulation tests, since both the salt decay rate and the salt distribution were found to vary significantly at different wind speed conditions. The deterioration of porous building materials due to crystallization of salts within their pore structure is a wide spread weathering process and the main cause of decay. The contributions regarding the decay phenomenon covered many important issues; some well known but seen in a new light were better understood and new treatment solutions were experienced.
Barbara Lubelli from Delft University of Technology (Netherlands) talked about "Sodium chloride damage to porous building materials: effect of RH changes", emphasizing the importance of the study of damage evolution in practice in order to better understand the damage mechanism. The case studies presented were performed both in situ and in laboratory, demonstrating the relevance
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of dissolution/crystallization cycles for the development of sodium chloride damages. The high frequency of RH changes causes fast damages in reality, while in the laboratory tests, where factors such as capillarity moisture, and drying at constant temperature and RH are adopted, very little damage was observed. For a better vision of the damage mechanism, ESEM analysis were performed on cross-sections which led to the hypothesis that the mechanical interaction between salt and pore wall would be enough to generate stress and thus damages. For more verification a crystallization inhibitor was added and was observed that salts are crystallizing but do not cause damage because there is no adherence to the pore wall. Experiments done on crystal growth under a constraint in strictly controlled condition were presented by Julie Desarnaud from CINaM, CICRP Marseill (France). The results show that the loaded faces of a crystal immersed in a supersaturated solution are dissolved and therefore the crystal
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is both unable to grow against the applied constraint and to develop any 'crystallization pressure'. Ioannis Ioannou from University of Cyprus studying salt crystallization in natural building stones reached the conclusion that due to the fact that the cryptoflorescence is considerably more damaging than efflorescence, the treatments with water repellents can actually have a harmful effect on the treated materials. Usually the water repellents are used to protect the surface of stones from contaminants, but the paper demonstrates the opposite. Actually those treatments can promote the masonry decay by suppressing the capillary transport of water and salt solution to its surface, thus forcing the formation of cryptoflorescence. Thus, the use of surface treatments may cause significant crystallization damage to the masonry in the long term, as inevitably some water will gain access to the masonry structure and will be lost by evaporation from the surface, leaving salts behind. This finding is particularly important and should be taken under consideration in practical situations where the prevention of efflorescence, which sometimes is also very important in case of decorative masonry - must be very well adapted to the necessities, being aware of this risk. The first conference day was ended in a pleasant atmosphere during the reception offered at Thorvaldsen Museum, Denmarks oldest museum, surrounded by Bertel Thorvaldsen sculptures and good wine. It was a chance for the participants to get to know each other and prolong the discussions started during the day. On the way to the reception venue I had the opportunity to take part in a short ad hoc 'tour' of Copenhagens monuments, their history and salt weathering problems, guided by Tim Padfield, an internationally well known specialist of microe_conser vation
climate in museums and historic buildings, who was part of the scientific committee of the conference. The second day brought the participants together again for discussing the topic of Material analysis and diagnosis of damage. I will only mention here some of the papers that have been presented, trying to highlight the main ideas passed on by the conference, being difficult to condense all the information into a simple review. Furthermore, the organizers published a book of proceedings where all the papers presented at the conference are available. Non-destructive methods were lately implemented for different heritage preservation analysis or monitoring necessities. M Gomez-Heras from Queen University of Belfast (UK) presented his research through high definition (HD) laser scanning for the evaluation of laboratory simulations
Reception at Thorvaldsen Museum.
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of building limestone salt decay. Tests comprised measurements of the surface morphological changes during alternating cycles of simulated salt weathering of lime stone, demonstrating the potential value of this non-invasive technique in adding new spatial information to patterns of surface weathering and erosion. One example given by the author was the possibility of monitoring the subtle changes like pores filling and surface swelling during early-stage weathering that are not detected by traditional parameters such as weight loss. Isabelle Brajer from the National Museum of Denmark emphasized how imperative climate control is in salt reduction treatments which are not longlasting without subsequent monitoring. Her study comprised a re-evaluation of the desalination treatments done in Tristed Church (Denmark) nine years ago which revealed the reversion of the problems as they were prior to the treatment. This is one of the major problems of massive monuments still in function which being salt
contaminated need a careful assessment of the salt weathering degradation in concordance with climatic control. Unfortunately, sometimes conservators recommendations are hard to implement in monuments which are still in use and are not understood by the community in charge of their maintenance. Two studies highlighted the importance of the attentive analysis of the environmental characteristics of the salts nature and transport which can give sometimes the best solutions for salt management approaches. Andrew Thorn, in his paper Salt management within rock art shelters, gave two examples of interesting ways of approaching the salt related damages in painted rock art sites from Australia, where they cannot be isolated but only handled. In the first case study the diagnosis itself became the treatment; only the assessment of the extent and movement of the salt contamination areas in relation with the painted surface in danger at repeated intervals showed the evolution in time and in this case, the risk diminishment. In the second case study the diagnosis of the salt
Isabelle Brajer from the National Museum Denmark, presenting The salt reduction treatment on the wall paintings in Tirsten Church (left). Andrew Thorn from Artcare, Melbourne, Australia, presenting Salt management within rock art shelters (below).
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mechanism revealed that it was thermally determined and that a simple shading of the site (planting trees) would stop the mechanism. A study regarding the 'Weathering of the Cathedral at Kirkjubur, the Faroe Islands', presented by Poul Klenz Larsen from the National Museum of Denmark, Department of Conservation, showed also the importance of understanding the material degradation in connection with the climatic environment. In this example, the ruins of the church were temporary covered with a special shelter which would protect the structure against driving rain, but studies of salt mechanism in connection with the local environmental climate bear out the possibility of aggravating the salt decay. Therefore the conclusion was that the walls would best be kept wet and just a traditional maintenance of the mortar joints would ensure the mechanical stability of the structure. Regarding the last section of the conference, Methods of repair, I would like to refer to at least two of the contributions with interesting new projects regarding salt treatments.
Poul Klenz Larsen from the National Museum Denmark presenting Weathering of the Cathedral at Kirkjubur, The Faroe Islands (below). Jrn Bredal-Jrgensen from the School of Conservation, Denmark presenting Lead salts on a pedestal of marble a case study (right).
A very interesting research was presented by Eric May (School of Biology Science, Hampshire, UK) regarding 'Bioremediation: potential and challenges for stone treatment'. The use of microorganisms to help preserve, protect and restore building stone is a new technology that offers a different approach supplementing the existing conservation technologies. Although biomineralisation has been observed for many years, the potential for its use in stone consolidation has only been explored relatively recently. Biocalcifying bacteria have been used to successfully promote carbonatogenesis on the surface of lime stone buildings or statuary and this type of newly formed carbonate is shown to be resistant to mechanical stress. Recently, microorganisms have also been used to remove sulphate from black gypsum crusts. The EU project BIOBRUSH (Bioremediation for Building Restoration and the Urban Stone Heritage) linked the mineralization process that removes stone crusts to consolidation by biomineralisation.
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Eric May, School of Biological Science (UK), presenting Bioremediation: potential and challenges for stone treatment.
Lisbeth M.Ottosen from the Technical University of Denmark, presenting Electrochemical removal of salts from masonry Experiences from pilot scale.
A new mortar system incorporating nitrate-reducing bacteria capable of removing nitrates was also developed and described during the conference. Lisbeth M. Ottosen and Inge Rrig-Dalgaars from Technical University of Denmark, Department of Civil Engineering, presented two of their researches regarding the "Electrochemical removal of salts from masonry" and "Desalination of a wall section with murals by electromigration". For the first project mentioned above, new electrode units were developed for desalination of brick masonry and were tested afterward, in a pilot scale experiment on a salt contaminated building. The chosen building was tainted with sulfate in a high concentration; chloride and nitrate were less present but in dangerous concentrations at some points. The obtained results were very good; the new electrode units buffered the acid produced at the anode and the contaminating ions were accumulated within the units
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during treatment and removed afterward from the site together with them. In the applied electric field, chlorides and nitrates were efficiently removed. Sulfates did not decrease radically during the 4-month treatment (possibly due to their low dissolution rate) but it was expected to continuously decrease over longer duration. Regarding the second experimental work, the application of the electrokinetic method was investigated for the removal of sodium chloride from a wall section with murals. A current of 2.9mA/cm was used for a two weeks treatment. The chloride was reduced from the wall section and accumulated in the removable poultice placed between the wall surface and the electrodes. During the electrokinetic treatment, the desalination effect was assessed by measuring the chloride content in the removed poultice and in drilling samples from masonry. The drilled samples were made prior to and after the experiment to investigate the changes for chloride and also the
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pH in the wall section. No pigment changes were visually observed after the treatment. The pigments from the murals are hardly soluble at neutral pH, which during this experiment was very closely measured and no changes were observed. This method has big potential for murals future treatments, the only mentioned necessary improvement being the evenly distribution of the chloride reductions on large scale which could be achieved, apparently, by managing better the wetting process. Besides the oral presentations, the conference had also a poster section covering again the complex conferences topic with interesting aspects regarding salts weathering phenomena, analysis and treatments. An interesting side of the conference, besides the high level of researches and results, was the fact that almost all the studies presented had also a practical side and most of them were already tested not only in specialized laboratories but also in situ or if not yet, this was the next step. This successful event was possible due to the professionalism of the organizers which knew very
well how to merge science and art in relation to heritage preservation, gastronomic breaks and practical site seeing. The participants were privileged to visit the Kronborg Castle (known as Hamlet Castle) which is undergoing restoration and rehabilitation works, Fanefjord Church where the mural ensemble dating from about 1550 suffered severely from salt decay and is presently the subject of a high standard conservation project and some other heritage monuments damaged by salt from Copenhagen. The high number of participants from 21 countries made the conference even more interesting from the point of view of its diversity. Interdisciplinary topics were enhanced by the variety of nationalities and specialisms, showing sometimes different approaches or similarities where you dont expect, but all leading to an improvement of the future treatments and preventive measures efficacy. The importance of this topic and the success of the conference were ascertained by the agreement for a following conference that will take place in Cyprus, organized by the University of Cyprus.
A view from the poster session (left) and visiting the conservation project of the mural ensemble from Fanefjord Church (right).
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CULTURAL HERITAGE: APPLICATIONS ON CONSERVATION-RESTORATION

Reviewed by Rui Bordalo
3 December 2008, Lisboa, Portugal Organising committee: Luisa Carvalho, Ana Isabel Seruya and Maria Guerra http://www.authentico.org
Authentication methodologies for metal artefacts based on material composition and manufacturing techniques
The Centre of Atomic Physics of the University of Lisbon was the host of the 1-day workshop "Cultural Heritage: Applications on Conservation-Restoration" which took place last December 3rd. The conference was organised by Prof. Dr. Luisa Carvalho and Prof. Dr. Ana Isabel Seruya in the framework of the AUTHENTICO project, an European funded research project. The conference coincided with an assessment meeting of the project and attendance was free. One of the key topics of this meeting was the bridge between Science and Art, and in all presentations this subject was clearly evidenced. The morning session was started by Maria Luisa Vitobello, from the European Jewellery Technology Network (Belgium), with the presentation of the "AUTHENTICO Project and the lost arts of the ancient goldsmiths". AUTHENTICO is a 3-years cooperative research project that gathers ten institutions, including research centres, museums and the police among others, from eight European countries and is focused on the study of metal artefacts in order to assure their authenticity. By studying the material composition and the manufacturing techniques, the project aims to improve the control of counterfeit art and fraud.
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In retrospective, we can clearly divide the workshop presentations into two categories. The first group includes all those presentations closely related to the project's thematic, that were as well the most important presentations of the day and which I may say were quite impressive. Filomena Guerra, from the Centre de Recherche et de Restauration des Muses de France (C2RMF), presented "Tracking gold forgeries with X-rays". Dr. Guerra made a short history of the forgeries starting in the Middle Ages with the fabrication of relics by request until the 19th century when forgery extended to all kind of products, from copies to imaginary artefacts. She also introduced the public to the less certain origin of some well known museum collections where not all artefacts are proven to be authentic. In fact, every now and then museum artefacts that never raised much doubts are discovered to be fakes or simply copies, or at least their authenticity may not be proven. In order to investigate this issue Filomena Guerra used several analytical techniques to study in detail jewellery from the Louvre museum. The study included not only elemental analysis to characterise the metal but also techniques that allowed the characterisation of the fabrication techniques. Fortunately, copies from the 19th
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century, like the ones in study, were not fabricated according ancient metal work techniques. One other example that I wish to mention due to its historic value is the study of 3 morabitinos, the first Portuguese gold coins, which are the only exemplars known so far. Through a series of elemental analysis combined with historic research it was possible to conclude, after the positive identification of Islamic and SouthAmerican gold, that one of the coins is in fact an old fake. I believe this presentation resumed very well the AUTHENTICO Project purposes. Inspector Teresa Esteves, from the Stolen Art Squad of the Judiciary Police (Portugal), made quite an impressive and rather sad presentation on the state of the art in our contemporary world and particularly in Portugal. The Squad was formed in 1979 and it is closely linked to Europol and Interpol. It was highlighted that most of the art is stolen under the expressed order of art collectors and dealers and few by opportunity thefts. It was also astonishing to know that like art movements, art theft has also its tendencies. From the 1980s to 2002 most thefts were done for 18th century furniture stolen from manors so clients could recreate old environments in their new farms. Up to 2006 there was a major incidence of theft of tiles robbed from anywhere, from churches to train stations. More astounding was to find out that one third of the stolen tiles are broken or lost. These incidents are not isolated, as anyone visiting Portuguese cities like Lisbon can see tiles missing from buildings in any random street. Since 2007 there are increasing reports of marble sculpture being taken from gardens all over Europe. What is surprising is that these sculptures weight from 200 to 500 kg but there are no witnesses. These are thousands of smaller and bigger thefts that transform art traffic in one of the top most
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lucrative criminal activities in the world. One story shocked me the most: four polychromed wooden sculptures were thrown into the Tagus River by the thieves during their escape. Thus, we should not think that art is well kept by collectors especially if acquired in criminal ways. Given such accounts, society should be educated and urged to take preventive steps against thefts. Salvador Siano, from the Istituto di Fisica Applicata N. Carrara (Italy), presented the Study and conservation of bronze artworks: the physical approach. He spoke about the several cleaning strategies that were applied to Porta del Paradiso, made by Ghiberti in 1452, since the 1966 flood. These cleaning strategies included, for example, chemical and laser cleaning. However, this presentation focused on the study of the original execution techniques that were used. Two hypotheses were advanced and in order to prove or disprove them, a set of pieces were manufactured by the hot wax technique and the results were compared to the originals. It was indeed a good example of experimental archaeology. The surprise of the day came from Guy Demortier, from the Facults Universitaires Notre-Dame de la Paix (Belgium), who presented Revisiting the construction of the Kheops pyramid. It is the general belief of actual archeologists that pyramids were constructed by assembling stone blocks but in his surprising lecture Guy Demortier defended the idea that the pyramids were in fact constructed by casting into molds. Based on mathematical calculations, he advanced the theory that it was not possible to construct the pyramids by block assembly because it is simply impossible to have a block of one square meter ready every 20 seconds with the man power said to have participated. Also, helped by analysis performed to the original stone he concluded that its composition was very
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similar to a geo-polymer discovered by Josephs Davidovits in the 1970s. The theory here defended was that the Egyptians built the stone blocks in the left bank of the Nile with a compound based on limestone and binder containing water and natron. Demortier confessed that despite his certainties and scientific evidence it has proven difficult to spread his theory among archaeologists. Truly, even if he would be wrong, his theory should be taken in account and at least tested until disproved. Such is the role of science and scientists. In the end, such a surprising and remarkable theory reminded me that research is not only about the discovery of new things but also about a new look into our past and knowledge. The second group of presentations gathered some representative research in conservation and restoration currently being developed by Portuguese universities and institutes. These included analytical characterisation of lacquers, a study of the pigments of medieval Portuguese manuscript illumination, and spectroscopic and analytical studies of paintings, paper and ceramic, among others. From a total of 20 presentations many others are worthy to be mentioned although this is beyond the purpose of the present review. I would like to congratulate the organisers for their initiative and to invite them to consider continuing similar efforts in the near future. It is not only important these kind of events to take place regularly but also to be disseminated and advertised in advance in order to bring together and convey information to as many professionals as possible.
INTERNET-BASED TRAINING MODULES FOR CONSERVATORS

by Barbara Hentschel and Angela Weyer The education system has changed, particularly regarding lifelong learning. Many universities have reacted to this challenge. The Hornemann Institute, Faculty Preservation of Cultural Heritage of the University of Applied Sciences and Arts Hildesheim/Holzminden/Gttingen produces e-learning courses for further education in German and English. With this multimedia course, the Hornemann Institute offers specialists in the field of conservation of cultural heritage customized study at their own rate of speed and free selection of time and place. Dividing the courses into modules permits free selection of contents according to specific needs and background. Only requirement for the courses is an internet-access. The participants of the courses can communicate with the authors or the tutor via telephone or email. The Hornemann Institute is developing online continuing education courses for persons who are dedicated to cultural heritage preservation. As this target group faces rapid changes in their profession, there is a great demand for career accompanying further training. The institute has concentrated primarily on courses drawn up by the teaching staff of the university. Initially these courses are intended for full-time students of the Faculty Preservation of Cultural Heritage. The courses are implemented in the full-time study program at the authors discretion: some instructors offer the courses to supplement current lectures, others as follow-up study.
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And others make use of the courses as preliminary preparation to ensure that all the full-time students possess the same basic knowledge when beginning full-time study. This then allows more time for the practical part of the study. In addition, some courses are open to anyone concerned with the conservation of cultural heritage. The Hornemann Institute is responsible for the organization and the administration. Distant students will be granted a Hornemann Institute certificate upon successful completion of the program and passing a final on-line examination. Tutors The courses are intended as a self-study courses. "Checkpoints" permit monitoring learning progress and are therefore highly motivating. The types of tests are: matching, filling in gaps and multiple choice. Correction follows immediately and automatically. More extensive essay tests are sent to the institute via e-mail. The authors set the length and allowed time for these tests. All questions to the contact addresses are directed to the Hornemann Institute, where the ones concerning technical issues are answered directly by the staff. Questions concerning the content are directed to either the tutor or the author/s. Evaluation Full-time students and distant students were asked to evaluate the courses. The response of both target groups was quite favorable. This might not be surprising in the case of the distant students as they chose the internet as their medium. The very positive response from the full-time students came a bit unexpectedly. Indeed, meanwhile an increasing number of teaching staff of the University of Applied Sciences and Arts have come to see the possibilities of using on-line courses
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for teaching the principles of a course in order to be able to spend more time for hands-on learning in workshops. In contrast to other study material, on-line course contents can constantly be updated by the authors and the learners never risk working with obsolete outdated material as may happen with printed media. The didactic versatility and interactivity of the continued education courses and the ability to adapt the study material to own individual needs is very motivating for both full-time students and working distant students. Learning is flexible and adaptable: the courses permit individualized learning at the learners own speed and to the depth the learner desires. Moreover, motivating is the fact that the learner can check his/her progress him/herself. Users are able to access the course contents whenever and wherever they want. There are no travel costs and no time lost on the job. Graphs and dynamic animation make it difficult to understand contents more accessible. Short video sequences (approx. 10 sec.) of practical examples make clearer what is relevant. However, not everything that is possible is didactically useful. The multimedia elements must contribute to learning. Internet-based communication elements such as e-mail, chat rooms, discussion forums allow the instructors and users to exchange experiences and work on tasks together. The institute tutors can also be reached by telephone and will assist in technical problems or problems relating to the subject. Printed media are better suited for long texts than the new media no one wants to read a thousand pages on a computer screen. Good study courses focus on where established media show their limitations. The average time a learner spends at the computer is forty-five minutes.
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He should be able to grapple with a subject in this time. So we ask our authors to provide precise and concise material. Presently, there are three courses undergoing: -Conservation Theories and Methods from the mid-20th century to the Present, by Prof. Dr. Ursula Schdler-Saub (19 January 12 April 2009) -The Examination of Transparent Coatings on Furniture and Wooden Objects, by Prof. Dr. Maierbacher-Legl, Julia Schultz M.A. and Merle Strtling M.A. (26 January 19 April 2009) - Globe Conservation, by Dr. Patricia Engel and Michael Hjlund Rasmussen (26 January 22 March 2009). Next available course in English Microbic Infestation of Objects of Art and Cultural Heritage by Prof. Dr. Karin Petersen und Barbara Hentschel M.A. 28 September 22 November 2009 The focal point of this course is presenting different methods of detecting and analyzing microorganisms encountered in objects of cultural heritage. The user is introduced to simple analyzing techniques as well as modern and specific approaches. The different ways of removing samples and of nondestructive testing are described explaining which results obtained using these techniques are of significance for the conservator. Moreover, one module deals with the principles and fundamentals of a discipline, thus enabling a user without any background in the field to gain access to the contents of the course. Read more about this course... For further information about the courses see: www.hornemann-institut.org
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The News section is publishing diverse information on cultural heritage topics, such as on-site conservation projects reports, conferences, lectures, talks or workshops reviews, but also course reviews and any other kind of appropriate announcements. If you are involved in interesting projects and you want to share your experience with everybody else, please send us your news or announcements. For more details, such as deadlines and publication guidelines, please visit www.e-conservationline.com
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FORTHCOMING PUBLICATION
Living with Heritage in Cairo Area Conservation in the ArabIslamic City
Author: Ahmed Sedky Publisher: AUC Press Date: April 2009 Pages: 320, 90 b/w illustrations ISBN: 978-977-416-245-9 Language: English Price: US $ 35.00 (Hardbound) The forthcoming book by Ahmed Sedky, architect and specialist in area conservation, is proposing a new preservation assessment of historic regions of Middle East cities, with a focus on Cairo as a case study. The deterioration of urban historic areas in the ArabIslamic countries is the author's main concern, who reveals the reality of these cities regarded as "a glamorous urban dream in human cultural memory". The city of Cairo, still preserving a traditional lifestyle in the medieval urban system, is explored and compared with other regional or international case studies. The author seeks to understand the causes behind the actual condition of the historic city starting by the elaboration of criteria for the retrospective assessment of the area conservation. Structured in 3 parts, the book starts with 'what' and 'how' to conserve, and concludes with the assessment of the area conservation in Cairo. The analysis is done by looking at factors such as integrity, authenticity and sustainability. Tourism and financial aid are discussed as funding mechanism for conservation. The author also makes an effective analysis of the conservation
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process, discussing issues like general appraisal, bureaucracy, management, partnership and community participation among others. The book is one of the first publications that focus on conservation on an urban scale in Egypt and probably the first that assess the work of conservation conducted in Historic Cairo. The book is addressed to specialists such as architects, engineers, urban planning decision makers but also to students, social scientists and to anyone with an interest in old quarters mainly in the Middle East and Islamic countries.
EXPERTS' ROUNDTABLE PROCEEDINGS

The Getty Conservation Institute (GCI) is known for promoting the dissemination of information through freely available electronic publications. Their most recent addition is the proceedings of "GCI's Experts' Roundtable on Sustainable Climate Management Strategies" that took place in Tenerife, Spain, 2007. The meeting was organised on the occasion of an ongoing project concerning an alternative climate control system. The share of experience, the identification of new areas for research purposes and education opportunities were some of the objectives of this meeting. The roundtable bought together internationally recognised specialists such as Dario Camuffo, Stefan Michalski and Tim Padfield among others, to discuss topics concerning climate management strategies and sustainability in preservation of cultural heritage. The proceedings are available in pdf format at http://www.getty.edu/conservation/science/ climate/climate_experts_roundtable.html
The Getty Conservation Institute

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event
Date: 21-25 September Place: Sibiu, Romania Abstract submission deadline: 13 February
Read more...
LACONA 8, organised by the National Institute of Research and Development for Optoelectronics (INOE) will include
3D-ARCH Workshop 2009 February 2009

Date: 25-28 February Place: Trento, Italy The main focus of the workshop will be the process of creating virtual environments from multiple data sources. Topics include: Image and Range-based 3D modeling of complex sites and architectures; Data registration and integration; Automated modeling techniques; Procedural methods for architectural modeling; Accuracy requirement and assessment for 3D reconstruction; Visualization issues for large and complex sites; Applications in cultural heritage and conservation policies. Read more...
presentations on the following topics: Laser cleaning of monuments and artifacts - innovations, case studies, evaluations; Laser based techniques for analysis and diagnostics; Imaging, 3D documentation and modelling; Optoelectronic devices and sensors; Laser for monitoring of environmental conditions; Projects, Networks, Education; Safety and health aspects.
A Race Against Time: Preserving Our Audiovisual Media

Date: 2-3 March Place: Austin, TX, USA The conference, presented by the Conservation Center for Art and Historic Artifacts, will include topics such as Machine-Based AV Media Identification and Preservation; Reformatting Options for AV Media; Contracting for AV Preservation Services; Surveying and Selecting AV Media Materials for Preservation and Access, and Funding Opportunities for AV Preservation, among others. Read more...
Learning to Look: Early Photographs

Date: 26 February Place: Los Angeles, USA First organized in 2002,The American Institute for Conservation-sponsored workshop "Learning to Look: Early Photographs" bring together art historians, conservators, and artists to discuss works of art. Led by a curator and a conservator, each workshop focuses on the material aspects of one type of object. Past workshops have focused on Classical art, Abstract Expressionist paintings, and Rodin sculptures. Read more...
First Bolzano Mummy Congress "Mummies and Life Sciences"

Date: 19-21 March Place: Bolzano, Italy The Institute for Mummies and the Iceman offer a biennal mummy conference, during which current research topics as for the Iceman and other mummies will be presented and discussed within a professional environment. Read more...
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March 2009
February 2009
The events in this section are linked to the original homepage of the organisers or to the calendar of events at www.conservationevents.com. Click on "Read more..." to find out more details about each event.
Call for Papers: LACONA 8 Lasers in the Conservation of Artworks
EVENTS
CAA 2009: Computer Applications and Quantitative Methods in Archaeology March 2008
Date: 22-26 March Place: Williamsburg, Virginia, USA The annual meetings of CAA are devoted to topics such as: agent-based models, bioarchaeology, CIDOC and other digital standards, databases, 3D data capture and modeling, data management systems and other field applications, GIS, predictive modeling, open source software in archaeology, photogrammetry and imaging, prospection and remote sensing, quantitative methods, high precision surveying, virtual museums, and virtual reality. Read more...
2009 Preservation Conference Digitizing for Preservation and Access: Past is Prologue
US National Archives and Records Administration (NARA) Date: 26 March Place: Washington, DC, USA The conference will focus on institutional approaches, case studies, standards and management techniques for projects and programs that are either underway or already completed. Thus, the discussion has moved from the experimental and theoretical to examining and learning from what has already been done. Participants will get an understanding of what digitizing choices are appropriate for their institution, based in part on lessons learned and new ground broken by other institutions, large and small. Read more...
Heritage Care through Active Citizenship

European Conference on Civil Society Organisations active in the Field of Heritage Date: 23-24 March Place: Mechelen, Belgium Non govermental heritage organisations play a crucial role in the field of heritage. Recent international heritage conventions (UNESCO, Council for Europe, etc) now finally fully acknowledge the importance of volunteers and civil society in protecting and safeguarding all kinds of heritage. What is happening - in practice - in your international network in Europe? Which initiatives look promising? Read more...
Call for Papers: Symposium on Principles of Conservation

Date: 24-25 September Place: London, UK Abstract submission deadline: 31 March The Royal Academy of Arts is organizing a two-day symposium following the publication in Summer 2009 of the book Conservation: Principles, Dilemmas and Uncomfortable Truths, edited by Alison Richmond and Dr. Alison Bracker. The symposium seeks to re-examine conservation principles, theories, and taboos regarding art, artefacts, buildings, monuments and sites, human remains, natural history, the arts and antiquities markets, and cultural heritage institutions within the context of the changing global economic and environmental climate of the early 21st century. Abstracts for papers that cover these and other relevant themes from a variety of disciplines, periods, and approaches, as well as specific case studies should be submitted by 31st March 2009. Read more...
Terracotta Army and Polychrome Cultural Relics

Date: 23-27 March Place: Xian, China The Second International Symposium of Conservation and Research of the Terracotta Army and Polychrome Cultural Relics will focus on topics such as Polychrome of Emperor Qins terracotta figures; Conservation and restoration of polychromy; Chinese ancient polychromy; European ancient polychromy; World other region ancient polychromy. Read more...
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project
CONSERVATORS WITHOUT BORDERS: A DYNAMIC APPROACH TO ARCHAEOLOGICAL CONSERVATION

by Dominica DArcangelo, Christie Pohl and Melina Smirniou
CONSERVATORS WITHOUT BORDERS
Founded in the spirit of Doctors without Borders, Conservators without Borders (CWB) is a volunteer organisation that provides support to archaeological projects where insufficient funding or expertise does not allow for conservation activity. Priority is given to sites in countries where finds are in need of urgent attention, either during or post-excavation. Other key objectives include collaboration with archaeologists, the development of sustainable methods of conservation alongside stakeholders, outreach to local communities, and conservation training for students, volunteers and the wider community. In 2007, CWB was awarded a grant by University College London (UCL) Futures to carry out two pilot seasons in 2007 and 2008. With the grant, CWB has run successful projects in Greece, Jordan and Peru. This article introduces CWB and describes its unique projects to date. For more information regarding CWBs founding principles, projects or contact details, visit www.conservatorswithoutborders.org.
Background to Conservators without Borders As post-graduate conservation students at University College Londons (UCL) Institute of Archaeology in 2006, Melina Smirniou, Christie Pohl and Dominica DArcangelo together identified a need for increased conservation input on archaeological sites. Through their on-site experience, each had witnessed opportunities whereby the life and use of objects might be prolonged through the implementation of basic preventive techniques. They also realised that funding short-falls, a lack of understanding about the long-term benefits of conservation, and a lack of regulation by host countries all meant that conservators were rarely considered critical to on-site archaeological teams. Devising an international volunteer organisation called Conservators without Borders (CWB), the founding members looked at ways in which conservators could become more actively involved in archaeological projects through improved communication with archaeologists and specialists. Active and dynamic approaches to information exchange were seen as key to improving the visibility and understanding of conservation and its modern principles. CWBs founding members believe that raising the profile of conservation
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is one way to successfully inform decision makers about the benefits of conservation. Ultimately, CWB would like to have a positive influence on how they choose to spend their money when planning future projects. A timely grant was awarded to CWB by UCL Futures, a grant making body which funds non-research projects carried out by members of the UCL community, in the spring of 2007. It allowed CWB to run a two-year pilot programme from 2007-2008 which provided the opportunity to practically trial its theoretical underpinnings. The founders began to look for archaeological sites that fit CWBs missions. One of CWBs aims is to provide field conservation support to archaeological sites where insufficient funding and expertise does not allow for any onsite conservation activity. Priority is given to sites where finds are in need of special or urgent conservation attention and where there is a keen interest in artefacts preservation. Another guiding principle of CWBs work is to cooperate with archaeologists, heritage professionals, local communities and students to build long-term, preventive conservation programmes.
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DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU
The three primary strands of CWBs activities include: practical conservation, education and outreach. The initiative also aims to work closely with conservation students to contribute to their training by giving them experience with conservation in the context of archaeological sites. Through the provision of outreach, education and training, communities become better equipped to understand conservation needs and have an increased ability to participate in conservation activities. CWBs practical work consists of first aid conservation on newly or post-excavated unstable objects and helping to improve artefacts packaging in storage. With limited resources, CWB aims to make a lasting impact in a short period of time by restricting complex remedial conservation treatments to the most urgent cases. The goal is to treat and stabilise as much material as possible in a 2-3 week fieldwork session. The focus of CWBs training is to show how damage can be minimised through preventive conservation techniques rather than repairing damage after it has occurred. CWB has been warmly welcomed by hosts in Greece, Jordan and Peru. Feedback from the conservation community at large has been positive and encouraging. The overall results of the pilot seasons are promising and CWB is currently seeking funding to carry on their work. The remainder of this article describes each of CWBs projects to date. Greece The first CWB project took place on the island of Kythera in Greece for a total of five weeks during the summers of 2007 and 2008. Kythera is 280 sq km in area and is situated between the southern tip of the Peloponnese and the island of Crete. The island has a very rich archaeological heritage resulting from 7000 years of continuous occupa24
Figure 1. A view of Kapsali, Kythera which is located in the south of the island.
tion, which spans the late Neolithic, Bronze Age, Iron Age, Roman, Byzantine, Venetian, Ottoman and Modern Greek periods [1]. In the 1960s, the British School at Athens excavated at the coastal site of Kastri concentrating on the Early Bronze Age layers and the Minoan presence on the island. Apart from Minoan finds, there are artefacts from Classical, Hellenistic, and Roman periods. The collection is comprised of pottery sherds, ceramic, metal, stone and glass small finds. Poor packaging and inappropriate micro and macro environmental conditions resulted in the deterioration of the objects. An earthquake in 2006 severely damaged the museum where these objects were stored. Their movement to the storerooms of the Kythera Island Project (KIP) ultimately lead to CWBs involvement. The co-directors of KIP, Cyprian Broodbank and Evangelia Kiriatzi, recognised that something needed to be done to stabilise the objects and make them more accessible for researchers. CWB was invited to collaborate with the KIP directors to improve the overall conditions of the collection and implement a new storage regime. Two conservation students, Saray Naidorf and Jackie Chapman, joined the CWB founding members to provide conservation assistance in Kythera.
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Figure 2. Several wooden boxes in which archaeological objects excavated by the British School in Athens in the 1960s were originally stored.
Figure 3. A close up view of archaeological ceramics stored in a wooden box and padded with wood chips.
The CWB conservators and KIP directors together made the decision to first treat and stabilise the most vulnerable and fragile objects, and then rehouse the small finds which specialists frequently access. The final task involved reconstructing and repacking ceramic vessels and fragments from the Early Bronze Age tombs. The original small finds packaging included paper bags, cigarette cases, biscuit tins, and small paper boxes with sheeps wool; all were stored with larger ceramic vessels in open wooden crates filled with hay and straw. This organic material resulted in pest infestation and some of the ceramic and glass sherds had shattered upon contact with one another as a result of the poor original packaging. Many of the metal objects iron, copper alloys, and lead were actively deteriorating. The team cleaned the small finds, mechanically removed active corrosion, consolidated flaking
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Figure 4. Dominica DArcangelo removing wood chips and straw from a storage box.
glass surfaces, reconstructed several ceramic vessels, replaced the old storage material with new conservation-grade packaging, and relocated the collection into air-tight containers or polyethylene bags, as appropriate. This packing method created a stable micro-environment which will prevent further damage. New identification tags and labels were also made.
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The collaboration between the teams and interdisciplinary approach to the work was very informative for both the CWB conservators and KIP archaeologists. The two-way communication meant that archaeologists extended their understanding of conservation processes while the CWB team addressed the KIPs priorities and implemented a complimentary work system using available resources. The biggest challenge during the project was overcoming the bureaucratic administrative museum structure and local politics in order to reach the local community. CWB realised that trust can be built through establishing a longterm relationship. During the first season in Kythera, the team managed to launch an initial communication channel with the local authorities and aimed to collaborate with these officials to develop sustainable archaeological conservation practices. Building trust is an on-going effort
Figure 5. Ceramic objects after repackaging. Figure 6. (from left to right) Melina Smirniou, Christie Pohl and student volunteer, Saray Naidhorf treating ceramic objects in 2007.
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Figure 6. (right) From left to right: Jackie Chapman, professional conservator and Melina Smirniou cleaning ceramic sherds prior to repackaging them in 2008. Figure 7. (above) Saray Naidhorf training a local museum employee in ceramic conservation techniques.
and CWB strives to develop relations with museum and local authorities through transparency and openness. During the 2007-2008 seasons in Kythera, a total of 751 ceramic, metal, glass and stone objects were stabilised and re-housed in conservationappropriate storage and packaging conditions. An initial outreach effort was established, aiming to promote best conservation practices and sustainability, and a continuous dialogue with all the stakeholders involved was also encouraged and fostered. Jordan CWB began discussing a collaborative mission with Jordans Department of Antiquities (DoA) in the spring of 2007. The DoA expressed a need to treat post-excavated material in storage, involving objects from six different museum collections: the National Archaeological Museum in Amman, the Umm Qais Archaeological Museum, the Dar AsSaraya Museum in Irbid, the Jarash Archaeological Museum, the Al-Karak Antiquities museum and
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the Petra Archaeological Museum. The primary materials treated from each of the six collections included copper-alloy and glass artefacts. CWB teams travelled to Jordan for a total of six weeks in the autumn of 2007 and 2008. The DoA provided accommodation and working space for CWB at a dig house on the archaeological site in Jarash. The team also worked at the Petra Archaeological Park Headquarters and the National Museum in Amman. The strategy in Jordan was multi-disciplined. Each day, CWB gave a four-hour training session with interested employees and archaeologists from each museum. In the afternoon and evening, CWB had time to carry out additional conservation treatments. The DoA organised several trips for CWB allowing them to get a useful picture of local issues in terms of storage conditions, museum displays, space and budgetary restrictions. Training sessions were initially focused on preventive conservation measures, including packing techniques using conservation-grade materials, appropriate environmental conditions and
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Figure 9. View of the Oval Plaza in Jarash, Jordan.
creating controlled micro-environments for archaeological metals. Important health and safety measures were also discussed with each group of participants. After covering minimal intervention, preventive conservation methods and best practices, the team members discussed and demonstrated basic chemical and mechanical cleaning techniques. CWBs microscope allowed the museum employees and archaeologists to view objects in a new way and use it as a tool for removing active corrosion from copper alloys. CWB also described methods for consolidating fragile glass vessels to preserve a weathered surface and how to reconstruct
Figure 10. CWB conservators working with archaeologists and museum employees at the Petra Archaeological Park Headquarters, Jordan during the 2007 season. Figure 11. CWB conservators conducting a training session on object packaging in Jarash during the 2008 season.
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Figure 12. A copper alloy bowl before conservation.
Figure 13. The copper alloy bowl after stabilization and conservation treatment.
fragmentary ceramic objects through support fills. This interaction gave participants a better idea of the more complex practical treatments used in conservation and a more well-rounded understanding of conservation methods and processes. The aim was to pass on skills to the trainees that could be utilised to better preserve artefacts within Jordans museum collections. By demonstrating more complex conservation work, CWB communicated the necessity of formal training for many of the treatments and the importance of consulting a conservator for involved remedial work. Overall, the CWB work in Jordan was successful in terms of stabilising a finite number of objects from the six collections. The outreach activities gave the participants an introduction to valuable and achievable preventive conservation measures and gave them more confidence in handling objects. Amy Drago and Mags Felter, the volunteer conservators that were part of the CWB team in Jordan, provided invaluable help as they shared their knowledge and expertise with the local professionals.
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The work in Jordan was very rewarding due to the enthusiasm and appreciation of the participants. Knowledge sharing, an important aim for CWB, was carried out successfully. Travelling and working in Jordan for two consecutive years allowed CWB to build on relationships and establish a growing sense of trust. Reciprocal relations, particularly with tangible benefits for the countries and participants involved, are fundamental to CWBs mission and are a crucial ingredient for negotiations and successful, international archaeological collaborations.
Figure 14. The 2007 CWB team during a practical demonstration at Jordans Department of Antiquities.
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Figure 15. Professional conservator and volunteer, Margrethe Felter, mounting a copper alloy belt from the Amman National Archaeological Museum.
Figure 16. Melina Smirniou (center) discussing an object treatment with Jordanian participants Dr. Fatma Marii (left) and Nihad Hendawi (right).
Peru CWB worked on the northern coast of Peru for 3 weeks in 2008 at two separate archaeological sites. The first project took place at San Jos de Moro, a Moche period site (AD 200 800), in collaboration with Project Director Luis Jaime Castillo. This project, which also incorporates a field school, is one of the only Moche cemeteries currently being researched. It has yielded some of the most complex elite burial and ritual settings pertaining to 1,000 years of continuous occupation. The excavations and related studies at San Jos de Moro have helped scholars understand traditions, beliefs, artwork, and organizational and governmental forms of ancient societies of the area [2]. CWBs work at San Jos de Moro primarily involved the conservation and restoration of unique unfired clay house models, or maquetas. These objects, painted with colourful natural pigments, were found in an elite tomb during the 2007 excavation season. The conservation of the maquetas was extremely challenging due to the fragile nature of the unfired clay and the considerable damage that had occurred since their excavation. CWB worked with excavation assistants to find joins
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between the clay maqueta fragments and collaborated with them on designing a roof support for one of the models. Some of the field school students were interested in conservation and assisted with the remedial work. The conservators also assisted on-site with the excavation and lifting of fragile textile samples associated with human remains. The team concluded their visit with a lecture on archaeological conservation methods for the field and a summary of the work completed during their visit. The second project in Peru took place at Magdalena de Cao in collaboration with Principal Investigator Jeffrey Quilter. This colonial period site abuts the El Brujo Archaeological Complex and contains an early Spanish church and town. The CWB team worked alongside American and Peruvian archaeologists, as well as other specialists to conserve paper, textile and metal finds. At Magdalena de Cao, CWB carried out documentation, cleaning and re-housing of the finds using conservation-grade packaging materials. The team implemented a visible storage system for all of the 2008 paper finds that minimises handling and allows researchers to view both
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sides. In addition to the work on the artefacts, CWB also had the opportunity to discuss several different conservation issues and concerns with the El Brujo Archaeological Complex employees, technicians and archaeologists. During this process, suggestions were made for preventive conservation practices and the long-term care of vulnerable materials. The conservators also demonstrated some basic conservation techniques, showing the variety of tools and materials used during the project. Because CWB works in different geographical locations, language can sometimes be a challenge. In order to achieve the most effective communication, CWB recruits volunteers with language skills that are beneficial for a specific project. Diana Medellin and Judy Jungels, both professional conservators, were part of the CWB team for the projects in Peru. Diana is from Mexico and was
instrumental in the discussions and translations that took place between local peoples and the CWB conservators. Once again, establishing a sense of trust between CWB and the project stakeholders was key to the success of both projects in Peru. Skepticism and
Figure 17. Peru. One of the unfired clay 'maquetas' after excavation and before conservation treatment. Figure 18. The 'maqueta' after conservation treatment.
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doubts about the involvement of conservation on an archaeological project can be overcome through the identification of the archaeologists needs and tailoring the conservation activities to these priorities. The time spent at each site in Peru was limited; however, CWB had the opportunity to demonstrate how conservators can be an asset to an archaeological project and contribute to the overall understanding of a site by conserving associated finds. The response to the two Peruvian projects was very positive and CWB has been invited to continue collaborative work at San Jos de Moro and Magdalena de Cao. Conclusion Each of the projects is distinctly unique, but all three provide examples of how conservators can add value to archaeological sites and programs.
Figure 19. CWB volunteer conservator, Diana Medellin, working with one of the Peruvian excavation assistants. Figure 20. San Jos de Moro field school students assisting with the conservation of the 'maquetas'.
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These case studies also highlight some of the key considerations and challenges involved in the successful collaborations. Based on projects in 2007-2008, CWB firmly believes that two-way communication and interdisciplinary working are fundamental to raising the profile of conservation. In addition, they provide opportunities for conservators to respond to real world concerns and problems with practical, feasible solutions. Conservators have an important role to listen carefully to local needs before formulating sustainable conservation suggestions. CWBs activities demonstrate that amongst the sites visited, there is a real openness, willingness to learn and appreciation for the information exchange on offer. There is great potential for long-term relationships with contacts in Jordan, Greece and Peru as a result of CWBs 2007 and 2008 projects. CWB is enormously indebted to its volunteers. Its success is due to their commitment and contribution of their expertise, time and energy. Thank you to Saray Naidorf, Amy Drago, Jackie Chapman, Judy Jungels, Diana Medellin and Margrethe Felter. The directors would also like to acknowledge the support of their respective employers who have granted leave requests allowing the coordination of all of CWBs projects: the Smithsonians Museum Conservation Institute, The Peabody Museum, The British Museum and the Institute of Archaeology, UCL. CWB is interested in hearing about archaeological projects which are interested in conservation support. For more information on CWB and details on how to get in touch, please visit our website: www.conservatorswithoutborders.org
Figure 23. Paper finds from Magdalena de Cao after conservation treatment and rehousing Figure 24. CWB conservators during an outreach session with archaeologists, technicians and excavation assistants at the El Brujo Archaeological Complex.
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Figure 21. The CWB Peru team working in the field at San Jos de Moro.
Figure 22. CWB conservators touring Magdalena de Cao Viejo with Principal Investigator Jeffrey Quilter.
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References:
1. A. Bevan and J. Conolly, "GIS, archaeological survey and landscape archaeology on the island of Kythera, Greece", Journal of Field Archaeology, 29, 2004, pp. 123-138. 2. L.J. Castillo Butters, Programa Arqueolgico San Jos de Moro, Temporada 2005, Pontificia Universidad Catlica del Per,Lima, 2006
www.conservatorswithoutborders.org
DOMINICA D'ARCANGELO
34A St. Asaph Road, Brockley, London SE4 2EJ, UK Contact: [email protected]
Dominica D'Arcangelo (BA, MA, MSc) is a conservator currently employed as a research assistant at The Institute of Archaeology, University College London. Since beginning her conservation career, she has been interested in the communication of conservation to other heritage professionals and the public.
CHRISTIE POHL
15A Buena Vista Park, Cambridge, Massachusetts 02140 USA Contact: [email protected]
Christie Pohl (BA, MA, MSc) is an archaeological conservator and has experience with inorganic and organic materials, including waterlogged artefacts. She was a Samuel H. Kress fellow in archaeological conservation at the Smithsonian's Museum Conservation Institute from 2006-2007 and is currently an assistant objects conservator at Harvard University's Peabody Museum.
MELINA SMIRNIOU
Conservation and Scientific Research, Great Russell Street, London WC1B 3DG, UK Contact: [email protected]
Melina Smirniou (BSc, MA, MSc) is an archaeological conservator currently employed in the Stone, Wall Paintings and Mosaics conservation section at the British Museum. She is also working on a PhD at the Institute of Archaeology, UCL, focusing on Late Bronze Age glass production in Egypt and the Eastern Mediterranean.
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AREAS OF PUBLISHING Conservation Treatment

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Scientific research Material studies and characterisation Analytical techniques Technology development Biodeterioration State-of-the-art Reviews
Preventive Conservation
Art History, Iconography, Iconology, Chemistry, Physics, Biology, Photography, Cultural Management, Museology, Computer Science, Legislation and Juridical Processes, Conservation Policies and any other field applied to Conservation and Restoration of works of art. Theoretic principles Case studies
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Find out more:

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www.e-conservationline.com
article
TERRACOTTA FIGURINE IN 'PIETRELE'

by Cristina Georgescu
Translation into English Philip Georgescu, Gabriela Georgescu
This article is also available in Romanian language in html format here.
TERRACOTTA FIGURINE IN PIETRELE
Along the Danube, the fifth millennium B.C. slowly begins to unravel its mysteries. And that, with the help of archeologists and their colleagues in connected fields, who come from far away lands sometimes even here, in time forsaken places, where everything seems to happen according to different rules than in the nearby cities. It is in such a village (Pietrele1, Bneasa commune, Giurgiu county) that the international interdisciplinary team2 chose to start its studies, fighting against the hot summers of the South. That which arouses their interest is a tell3 approximately 7 km from the Danube, a little further from the centre of the village. This tell (Figure 1) is an artificial lump, an important expression of the Eneolithic civilization: Gumelnia. The Gumelnia culture in southern Romania was once a part of a larger cultural area that included a part of Bulgaria, thus its complete name: Kodadermen-Gumelnia-Karanovo VI. The site has been known for its scientific importance since 1934 [2] but it is only now, thanks to the modern investigation technology, that we may follow, into detail, the economical strategy of
Figure 1. 'Tell am Morgen' - Mgura Gorgana in the morning light (Foto by Hansen).
the long-term inhabitation of the area (cca. 300500 years), the social order of the inhabitants, as well as establish the weather conditions and the cultural changes between the lower Danube, the Black Sea and Central Europe4. As organizer and coordinator of the mobile conservation-restoration laboratory5, I had the privilege of intensely studying the ceramics and the artifacts discovered during the excavations. The laboratory provides, all along the digging
1This article was also published in German as a chapter of
a comprehensive article about the project, thanks to DAI (Deutsches Archologisches Institut, Eurasien Abteilung) translated by Dr. N. Boroffka (whom I once again thank) [1].
2Partners in this joint project include: Eurasia Department of
vessels), Dr. Baoquan Song (geophysics), Dr. Daniel Spnu (house models), Tilmann Vachta, M.A. (loom weights), Prof. Dr. Joachim Wahl (anthropology), Heide Wrobel (jewellery) and Petar Zidarov (bone artifacts).
3Tell: generic term from Arabian (tall) and Hebrew (tel)
the German Archaeological Institute (Prof. Dr. Svend Hansen and Dr. Agathe Reingruber), the Archaeological Institute "Vasile Prvan" (Prof. Dr. Alexandru Vulpe and PhD cand. Meda Todera) and the Institute of Physical Geography of the University in Frankfurt a.M. (Prof. Dr. Jrgen Wunderlich). Members of the excavation team are Nico Becker (clay spoons), Prof. Dr. Norbert Benecke (archaeozoology), Dr. Irma Berdzenishvili (drawings), Prof. Dr. Ivan Gatsov and Petranka Nedelcheva (flint tools), Cristina Georgescu (restoration), Dr. Jochen Grsdorf (archaeometry), Prof. Dr. Andreas Hauptmann and Dr. Michael Prange (archaeometallurgy), Jorrit Kelder, M.A. (miniature furniture), Florian Klimscha, M.A. (axes and celts), Ute Koprivc, M.A. (grinding stones), Michael Mller (statuettes), Andrei Mocanu (animal figurines), Dr. Reinder Neef (archaeobotany), Prof. Dr. T. Douglas Price (isotope analyses), Christoph Schrder (miniature
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defining an artificial (made from architectural materials, organic or mineral artifacts, bones etc.) lump in the land, used initially in the Archaeology of the Nearby East. In Turkish it is a synonym for hyk (atalhyk), Persian tappeh. In the Balkans there are some synonym terms, magoula or tomba (in Thessaly and Macedonia, also defining tombs). In Bulgaria the term moglia is also used and in Slovenia - gomila and in Romania - mgur.
4See http://www.dainst.org/index_6832_en.html and
http://www.instarhparvan.ro/pagini%20secundare/activi tati/santiere/preistorie/pietrele/text.htm
5Between 2004-2007 exclusively, in 2008 in collaboration with
Maria Tomuschat and Sandra Kaufhold, students at Fachhohschule fr Wirtschaft, Restaurierung, Grabungtechnik, Berlin.
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period, operations of different difficulty levels, special recordings of the archeological materials (photographs, drawings, state of conservation, interventions, etc.) as well as processing the materials in a proportion of 80%-90%. A special case was offered by the two apparently queer fragments (Figure 2) discovered in successive excavation campaigns, that proved to be parts of the same object: a terracotta figurine. Figurines dimensions Preserved height: 7.1 cm Preserved length: 7.9 cm Maximum width preserved (at the level of the chair seat): 3.6 cm Maximum width of the back of the chair: 4.8 Preservation status The figurine has been discovered in high state of fragmentation. Main6 type of preservation: transversal. After the first reconstruction (Figures 3 and 4), the conservation state remains fragmentary, due to secondary fragmentations that have occurred to the figurine whose missing components havent been found in situ. Main fragmentation area: figurines waist (practically 'torn' in two pieces). Secondary fragmentation areas: - The head is missing; acute angle fragmentation; - Its superior limbs are fragmentary, transversally cracked; - The inferior limbs have acute cracks on the calf; - The legs of the chair are transversally cut at two levels: three of them, the back ones and the front
left one, are cracked at the joint with the chair seat. The front right leg is cracked transversally, but it is almost entire, practically missing just its bottom point; - The lower side of the back is cut transversally. Substance; color The statue is made of good quality clay, cleansed of impurities and well compacted. On the outside, the color of the figurine varies from very pale brown (10YR 7/3)7 to dark gray and black (10YR 4/1 + 10YR2/1). Deeper, as can be seen in the cracked areas, the color of the clay varies from pale brown (10YR 6/3) to very dark gray and black (10YR 3/1+ 10YR 2/1). This variation of the clay color suggests an initial burning at the approximate temperature of 500 C- 600C and a possible free oxygen first burn, continued in an oxidized environment [3]; it is possible that the clay contains organic vegetal substances. The circumstances of the discovery suggest even a second inner burning, with little amounts of oxygen and without vitrification. Conservation-restoration intervention The conservation-restoration intervention applied to this figurine was minimal because the conservation state of the material had no major problems. Practically, the figurine was cleaned mechanically with brushes and cleaned with water then left out to dry. Dissoluble salts have been observed neither on the surface nor in the cracks. The assembling has taken place in the main fragmented area. An acryl adhesive was used for the reattachment of the cracked areas.
6Technically speaking, the crack that mostly affects the
7"Munsell soil color charts 2000", this code is going to be
structural integrity of an object can be considered the main fragmentation.
used on further descriptions of colors of the interior and exterior of the figurine.
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Figure 2. Figurine before conservation (Photo by Hansen, drawings by Kelder, Vachta).

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Figure 3. Figurine after conservation-restoration intervention.
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Figure 4. Figurine drawing documentation.
The volumetric reconstruction of the missing area has proved to be more interesting; the operation took place in a laboratory because the research and decision of the material that is to be used in the process takes more time. Due to the multiple fragmentation areas of the figurine, the general shape and positioning have been more difficult to determine and study and the reconstruction of the missing parts became a top priority. An easily removable substance was used in order not to deteriorate the original one in any way a low fat white modeling material (Figure 5a, b).
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Given the fundamental points of the figurine, the process started by finding shapes to help put the statue together. After a couple of failed attempts, the reconstruction was restarted from the horizontal seat of the chair; from this point on, a human-like figurine gradually came together. Therefore, observing the anatomical features of the figurine and connecting the fragments with the whole, a 'readable' (Figure 6) piece was achieved: a human-like figurine sitting on a chair, known in the technical literature as "the sitting figurine" or, according to Radian Andreescu [4],
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Figure 5 a, b. Volumetric reconstruction of the missing areas.
Figure 6. Volumetric reconstruction of the figurine in drawing.
the "semi-seated" type B figurine, one of the peculiar figurines "tailes dune seule piece avec lescabeau sur lequel elles sont assises in aeternis", as Vladimir Dumitrescu [5] calls them. Analysis Compositional analysis In order to decipher the means of composition of the statue, first each one of its parts had to be analyzed: the chair, the humanlike body and its features as well as the connection between
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these elements. Separating them is also important for a more detailed analysis of the category of similar objects. The chair The reconstruction of the shape of the chair was based on the lines of the shapes. From bird-perspective, the seat of the chair is slightly shaped like a trapeze, the front side is 3 cm narrower getting wider towards the back side, in contact with the back of the seat, where it reaches the maximum width of 4.5 cm. When looking from
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the side, the length of the seat is 3.5 cm. The legs of the chair are 1.9 cm long and we may presume they initially were 2, maybe 2.3 cm long. The back of the seat is approximately 5.1 cm. The maximum width is 4.7 4.8 cm in the upper side (the widest part). About 3.5 cm above the contact line between the seat and the back of the chair, it forms two edges, the right one with an inclination of approximately 21-22 degrees and the left one of 28-29 degrees. The two lines unite in the middle creating a back seat shaped as a pentagon that also includes a small round window. The joint angle between the seat and the back of the chair is obtuse (120). This is very important when defining the wider category that includes the piece. The back of the chair shaped like a bow or like a pentagon with a hollow is an important element of the Gumelnia culture. The seat shaped like a bow can be found in Zamine [6] and like a pentagon in Drgneti-Olt Corboaica [7], Sultana [8], Luncavia-punct Cetuie8 south from the
Danube [9] (Tellisch Redutite) and Pietrele9. An original exemplary, like in Stoicani-Aldeni, can be found in Blneti10. Human-like figure; position of the body The body is half-seated joining the back of the seat in a 120 angle (Figure 7 position C). Practically, the back with its curved spine has the same proclivity as the back seat of the chair with which it organically bonds. In the front, the body is slightly twisted, the axis of the shoulders slightly bent to the left, creating a winding of the medio-sagital symmetry axis on the AB axis (Figure 8.1). The left forearm and arm create one anatomical unit, lacking any separating line in the articulation of the elbow; both of them go over the chest, ambiguously ending without a palm, in the articulation of the right elbow, marked here by a strong flexion between the right arm and forearm. The right hand is missing but the analysis of the
Figure 7. Possible anatomical positions and the cinematic chains.
8A "Lost" Civilization: Gumelnia, in Finds
Catalogue, Miniatural Objects "Miniatural Chair", inv. 629, Eco-Museum Research Institute, Tulcea. http://www.cimec.ro/Arheologie/ gumelnita/gumelnita_engl/cd/default.htm
9Unique finding, Pietrele - Mgura
Gorgana 2006.
10Diggings Silvia Marinescu Blcu.
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Figure 8. Compositional analyses.
trails left behind (Figure 9) seems to indicate lifting it towards the head almost vertically. The neck of the body is long, the head is missing. The inferior limbs along with the pelvis are slightly twisted to the right hand and are separated by a crenel starting from the thoraces continuing deeper towards the pelvis (the line measures 1.7 cm in this area) and then up to the calf, separating the inferior limbs throughout their length. The sex of the figurine can not be determined, the feature belonging to the Eneolithic asexual figurines. However, it can be noticed that where the inferior limbs are inserted into the pelvis, unless we consider it a mark left by the modeling tools, a small 'V' is carved. The legs are bent, the lower calves and the feet are missing, but studying the proportions indicates the feet do not touch the ground. Practically, the feet are hanging in the air. Human-like figurine proportions Although barely sketched out, the human-like statue shows a long neck on a small torso diminished by sinking it into the chair11 and long thighs con44
tinued by calves that are supposed to have been quite long proportionally with the rest of the figurine. These references show that the figurine belongs to the tall human type, with long-type muscles [10, pp. 36-37] similar to the modern man. Connecting the composition, the position and the proportions After having described each element alone, the chair and the human body, it is clear that there is a natural connection between the two; the construction angle of the chair apparently determines the position of the body. The chair seems to be very important as it has been carefully molded, the greatest attention being given to details12.
11Although it may be ignored at first or considered acciden-
tal, this sinking of the human-like body into the back of the chair may have as a starting point the direct observation of this phenomenon by the creator of the statue; modeling the entire figure may also prove the direct observation.
12This was also noticed by Silvia Marinescu-Blcu when
I showed her the piece.

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Figure 9. Analyses of the modeling trails.
In comparison to the chair, the human figurine seems to be neglected. From compositional point of view, the insertion obtuse angle of the back of the chair into the seat determines the human figurine to bend and slightly sink [10, pp. 56-57] into it, the torso looking as if it were 'sunk' into the back of the chair; this may be well observed from the back side of the figurine. Practically, when studying such a figurine, not only the angle described by the bent legs is important, but also the one between the thighs and the spine. The 'sitting' position makes possible at least anatomically speaking to determine the position of the figurine, as well as its belonging to a certain subtype and to the 'sitting figurine' category. For a better explanation I have resorted to drawing the possible anatomical positions and highlighting the cinematic chains that change radically according to the angles between the involved anatomical elements (Figure 7).
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In the sitting position (Figure 7, position A) with the feet leaning on the floor, the main support is on the ischium and the thighs and the angle between the thighs and the calves is approximately 90, similar to the one between the thighs and the torso or the vertebral column. Anatomically speaking, this is a natural resting position that may present endless positioning possibilities [10, pp 56-57]. Practically, in the classical 'sitting' position the center of gravity is situated towards the back limit of the support which prevents the torso from leaning back. When the back is supported, it reaches maximum [4, 6] muscle relaxation. In the technical literature significant pieces in terracotta representing the second sitting position, dating back from the late Neolithic and Eneolithic were found South from the Danube as well as in the North. Figure 7 position B shows the angle defining this position that opens more than 90, which leads to the modification of the
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cinematic chain that also opens. This is where another element gains position and that is the area holding the feet. In this particular case, the feet stand on the ground. The drawing is the result of the study on the published statues belonging to this position. Common features of statuettes in this position The angle between the seat and the thighs of the figurine on the one side and the back of the chair on the other is an obtuse one, sometimes reaching 120. The chair has 4 legs, clearly separated one from the other, two in the front and two in the back. The chair and the figurine have been molded together. The back of the chair is either in the shape of a pentagon or in the shape of a bow, being hollowed in the center. The bent lower limbs reach the ground having been molded as part of the front legs of the chair. All the statues are women. The statues come in different sizes, between 3 and 8 cm high. Particular features The position of the upper limbs is different. For example, at Zamine on the area of Neolithic culture, Slcua (I-III) Krivodol-Bubani the figurines have their upper limbs stretched sideways and present a symmetry on the medio-sagital axis. One of them has one of arm over the chest, the other one bent and lifted towards the head and the legs are symmetrically placed; another figurine has the upper limbs bent and placed under the breasts, and other two have the upper limbs are symmetrically placed around the mediosagital axis, flexed, leaning on the hips. The statue in Potcoava (belonging to the Gumelnia culture) has its upper limbs flexed and asymmetrically
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positioned, the right one over the chest, ending in the opposite shoulder, the left one bent, ending in the lap, while the lower limbs are symmetrically positioned. The way of representing the legs differs for Zamine three figurines are represented with the lower limbs flexed and compact to the knees, from where they divide and merge with the legs of the chair. For other two statues the lower limbs are modeled together up to the calf; after that they separate and merge with the legs of the chair, creating a fish tail. The statue in Potcoava has the lower limbs molded together, the sexual triangle is marked by carved lines, the lower limbs are also separated one from the other using a carved line; due to the fragmentation of the figurine, we do not know how the lower limbs end. As a result of a brief study on the Neo-Eneolithic statues, another semi-sitting position was included in the drawing (Figure 7, position D). A third option (Figure 7, position C) was conceived according to the data of the statue from Petrele after studying some of the other statues published in the literature. As it may be observed, the cinematic chain of this position has some significant changes in comparison to the initial sitting position; it is extremely open due to the bigger angle between the pelvis and the spine, that reaches 120. The main differences separating it from the previous position are the flexed legs that do not touch the ground. The position might be considered a transitory one, between 'sitting' and 'laying on the back'. It would rather belong to the 'lay back figurines', the half-laying figurine or the long figurine, than to the seated or semi-sitting figurine. The back is leaning against the chair, the legs are bent and do not touch the ground. Practically, the weight is supported by the thighs. This is why the center of gravity moves to the ischium and on the back. The statues in Tell Tschatalka
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and Tell Sawa [11] are in a similar position; the human-like body is clearly separated from the piece of furniture and even seems to be molded separately. In relation with Cscioarele, Sultana and Stoicani-Aldeni [12], the fragmented statues seem to be a good analogy to this one; the humanlike figurine as well as the chair have been modeled simultaneously [4]. Geometry of Composition The three-dimensionality of the objects might render the compositional analysis a bit difficult as it gives us more than one perspective, each point of view opening new leads in the investigation. Therefore, such an analysis is extremely selective. W. Bailey [13] severely criticizes the geometrical study on prehistoric figurines, a critic well put as it does not offer any new data and is limited to a graphical representation and the study of proportions. Figures 8.1 and 8.2 show the geometrical hypothetical frames that might surround the figurine. These are of course, non-scientific, as they only follow the contours of the statue. However, they establish the geometric perimeters of the parts of an image [14], be it a three-dimensional one. I have made the plastic geometric analysis taking into consideration two main perspectives that are, in my opinion, essential for the statue: the side and the frontal views. The followed objectives were: the dynamic of the major and minor parts,
the movement of the lines; the composition consisting in straight or curved lines, the type of composition (opened/closed) according to the centripetal or centrifugal position of the piece. The resultant of the diagram is in both cases, similar: static, closed, compact, centripetal composition, circumscribed in an indefinite pentagon13. The indefinite pentagon with slight variations and somehow decentralized is also used on the back of the chair. The main guidelines of the pieces are included in the general pentagon, the more important lines focus on the curved lines. The composition is dominated by curved and oblique lines. The most static piece of the composition is the horizontal line of the chair. Even if the outlines of the pentagon are discreet, the connections they establish is reflected in the psychology of the perception of a work of art [14]. It is not a mere happening that the back of the chair is shaped like a pentagon; that is the result of a mental matrix that, more or less conscious of the fact, keeps repeating the general shape14. Among these shapes, the higher mentioned pentagon appears in several objects belonging to these cultural zones, for example in models in the houses or on the sacred tombs [4, 15, 16], on handles and as a functional ornament on lids [17]. It is therefore a well-known figurine. The composed figurine15 in ronde-bosse16 is made of a human body and a chair, molded using a single piece of material. The figurine preserved areas showing the way the clay has been handled, a great
13The regular pentagon has all the sides and the angles
15The composed figurine is an appropriate term to define
(108) equal.
14Important studies are made on mental models, a concept
described in 1922 by Ludwig Wittgwenstein and developed in 1927 by Georges-Henri Luquet in Le dessin enfantine (Paris, 1927) and continued by Kenneth Craik in The Nature of Explanation (Cambridge, England, 1943). For further details, see also: http://www.tcd.ie/Psychology/ Ruth_Byrne/mental_models/.
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this type of figurine that combines a human figure and one or more elements that together form a plastic composition, term that defines the association of two or more elements in one piece of work.
16Term defining a three-dimensional sculpture regardless
the material used in making it (terracotta, bone; stone; copper; bronze etc.)
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Figure 10. Analysis of the marks left on the back part of the figurine. Figure 11. Modeling technique.
Figure 12 a. Modeling technique, figurine execution reconstruction; Figure 12 b. Analysis of the modeling technique and cinematic chain.
opportunity to study the ways of confectioning, modeling and finishing, the handprints and traces of tools. The analysis of the marks left on the back part of the figurine revealed a separation marked AB (Figure 10), along the crack. This separation is highly important because it is a break line and a clue revealing the modeling technique. It is the result of folding the soft clay; practically, the craftsman started by making a stray of clay almost the same width as the finished piece, folded it once making the piece: in the lower
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part, the seat and in the upper part, the torso (Figure 11). The back of the chair has been added to this element; judging by the tracks, it was made separately, using a roll of clay made especially for modeling a bole, using the 'columbine'17 method [3, 18] (Figure 12 a).
17Old technique of modeling the ceramic vessels by forming
rolls, placing them one over the other and 'sewing' them together [3, 18].
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This one has been very well 'sewn' in the upper frontal side, where it joints the neck and the body of the figurine; however, it has been left untouched in the back area, where there are no traces of sewing (Figure 12 b). It is very likely that the procedure might have been similar in the lower side of the back area that is currently missing; the sewing only appears in the frontal area. On the back of the figurine one may observe traces of pressure being applied; they are in fact traces of the roll creating the back of the chair. Creating the figurine in this way has left the jointing area between the seat and the back of the chair very fragile, a zone situated exactly on the AB line (Figure 10) which became the area most affected by fragmentation. Therefore, the means of putting the piece together also determines the way it was damaged by a mechanical shock. Vladimir Dumitrescu [19] asked himself the same question, drawing the line between the confectioning of this type of figurine and the way it was fragmented, clearly stating that they were molded differently in comparison to those broken on the
vertical axis, that had been made by assembling two parts of clay on this very axis that became, technically speaking, the most vulnerable area. After having roughly completed the piece, the artist began working on the details: the legs of the chair, the anatomic parts, which he carved out of the raw shape. The model has been molded by a strong and steady hand, in an alert rhythm as if from a single blow. The composition is compact and the forms just rise one out of the other. Studying the molding traces that are still visible in some areas, leads us to the following conclusions: - The contact zone between the left shoulder and the back of the chair, the outline indicates it was made by 'pinching' the clay in the back of the chair and dragging it to the shoulders of the figurine, the right shoulder, the clay has been 'dragged' towards the neck. - The molding area of the upper side of the back of the chair shows signs of smoothing, done with the fingers and a tool (on the right side) made out of the same wood, in the shape of a lamella; the blade was approximately 0.6 cm thick (Figure 13 a, b).
Figure 13 a. Analysis of traces, photo from beneath.
Figure 13 b. Analysis of traces, the lower inferior side.
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- The inside part of the seat conserved traces of the way the legs were made; they were made of a small ball of clay on which a small quantity of material from the chair was stretched, for better 'sewing'. In that which regards the type of finishing, the frontal and side areas are molded neatly enough; in some places, we even find traces of tools (the equivalent of the modern spatula) made of bone18 or wood; the surface is smooth, without any clear polishing marks. The back of the human figurine, the back side of the back of the chair as well as the inside of the seat are slipshod, with unleveled surfaces. Moreover, the only part that seems to be added towards the end, is the 'roll' on the upper side, that creates the back of the chair and that seems to be 'sewn'19 [20] to the humanlike figurine only on the front side; the back side clearly shows signs of having been glued to the front side. The shapes of the statue are strongly outlined and slightly rounded; the important anatomic signs are obviously outlined, especially in the lower part of the body. Due to treating the frontal and side areas differently in comparison to the back area that was somewhat neglected, one might sustain that the figurine was placed so that only the carefully finished areas were at sight. Yet, these differences are not very upsetting, so that all together, the statue is unitary in that which regards the modeling and finishing techniques.
Analysis of the traces regarding the fragmentation of the piece There is a wide range of theories regarding the fragmentation of the archeological pieces, based mainly on the intentionality of this action in the frames of a ritual. Luckily, the piece offers the most interesting data regarding the fragmentation and the way it occurred. Apparently, the piece seems chaotically fragmented, confusing at first. An important step in understanding the phenomenon is establishing the broken sections. Therefore, I tried to frame the statue in a geometrical shape (Figure 14). The prism allowed a clear observation of the plans on which the braking 'occurred'. Therefore, the cracks revealed their belonging to one of the plans; most of the fragments from the frontal area gathered in the lower horizontal plan IJKL; in the higher horizontal plan IJKL there are two cracks in the arm-forearm area. All of these fragmentations
Figure 14. Fragmentation process.
18The bone as well as the well polished wood are the ideal
materials for a fine finishing of the clay; even today, the best modeling tools are made of bone or wood.
19'sewing' is commonly used among the potters and refers
to sticking two pieces of clay when making a bowl; the edges are pressed inside and outside the bowl; afterwards, the surfaced is smoothened. The technique is also used for the statues in terracotta at the joints, reassuring resistance during drying and burning and diminishing the risk of cracking or unstitching [20].
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Figure 15. Fragmentation process (above). Figure 16. Reconstructed fragments (right).
belonging to the horizontal surfaces are transversal and are marked by the orange color, according to the area they belong to. This transversal fragmentation is also present in the main 'crack' that broke the statue in half. Other types of fragmentation, not as many though, belong to the side surfaces EFGH and EFGH, colored in purple, according to the area they belong to. These back cracks are the result of a ricochet. They have a different trace than the transversal fragmentation, although they are in the same area (the upper part of the neck of the statue, where it joints with the head) in two opposite sections that form an acute angle. Only one fragmented area goes out of the established pattern: it belongs to the side surface EFGH and is a direct, side crack colored in dark violet and marked as Z. This is in fact the area in which the statue was hit and fractioned; the next fragmentation took place in the upper area, horizontally, as well as side-ways. The lower area being the heaviest, was the first to be damaged, the following one being the upper area. That is one way to explain why most of the cracked areas are situated in the lower part despite the fact that the upper side is more fragile and less resistant. The impacts occurred in two consecutive moments, the second strike being a ricochet from the first one that hit the upper part of the statue, thus beheading it. Figure 15 shows the reconstruction of the impact,
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the lines that might have acted on the statue as well as the impact zones. Regarding the object that hit the statue, judging by the damage, we may say it was a blunt, hard, object with a blade longer than the damaged object. Figure 16 presents the missing parts of the statue, hypothetically reconstructed out of plasticine and removed afterwards. Conclusions Although typologically it is a semi-sitting figurine, the statue is different due to its details. Conceived massively, it resembles the figurines in the subtype presented in Figure 7 position B; as it has bent legs that do not touch the ground, it is similar to the subtype in Figure 7 position C; it differs due to the curved symmetry axis and the rhythm of its shapes that take it out of any common or well-known pattern. The position of the arms resembles a male representation, a semi-sitting statue [4] separately molded; another analogy is with a standing statue [8]. Due to the lack of detailed information regarding the execution technique of the figurine, it is very difficult to find technical analogies. Technically as well as regarding the style, the statue is a time capsule, it is unique, it boils with information and it allows a wide range of interesting presumptions.
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Bibliography
1. S. Hansen, M. Todera, A. Reingruber, I. Gatsov, C. Georgescu, J. Grsdorf, T. Hoppe, P. Nedelcheva, M. Prange, J. Wahl, J. Wunderlich, P. Zidarov, Pietrele, "Mgura Gorgana. Ergebnisse der Ausgrabungen im Sommer 2006", Eurasia Antiqua 13 (2007) pp. 71-80. 2. D. Berciu"Cercetri arheologice n regiunea Bucureti", Materiale i cercetri arheologice 2 (1956) pp. 503-544. 3. M. Ciuc, Anghel D., Sabu D., "Consideraii cu privire la tehnologia de confecionare a ceramicii culturii Precri", in Apulum XXXVIII, 1 (2000) pp. 110, 127. 4. R. Andreescu-Romus, Plastica antropomorf gumelniean. Analiza primar, Bucharest (2002) pp. 16 - fig. 1,2, 4, pl. 14, pp. 20, pl 31-pic.4, pl. 32, pl. 37, 2. 5. V. Dumitrescu, Plastica epocii eneolitice n Romnia, La plastique anthropomorphe en argile de la civilization eneolithique balkano-danubienne de type Gumelnia, Bucharest (1938) pp. 61. 6. B. Nikolov, Zamine, Sofia (1975) Fig. 42, 45-47, 64-67, 74, 101, 103. 7. M. Nica, Z. Floroiu, Tr. Zorzoliu, M. Vasilescu, "Tell-ul eneolitic gumelniean de la Drgneti-Olt, punctul Corbeanca, Studii si cercetari de istorie veche si arheologie (1994) pp. 54. 8. E. Coma, Figurine antopomorfe din epoca neolitic pe teritoriul Romniei, Bucharest (1995) pp. 219 - fig. 5, 7, pp. 179, Pic. 50, 3. 9. Jungsteinzeit in Bulgarien (Neolithikum und neolithikum), Katalog zur Ausstellung, Sofia (1981). 10. Gh. Ghitescu, Anatomie artistic, vol II, Formele corpului n repaos i micare, Bucharest (1962) pp. 36-37, 56-57. 11. Jungsteinzeit in Bulgaria, Sofia, 1981, Abb. 151 (Kodadermen- Gumelnia- Karanovo VI;) for Tell Sawa, Abb. 222, pp. 197. 12. M. Petrescu-Dmbovia, "Cetuia de la Stoicani", Materiale (1953). 13. W.D. Bailey, Prehistoric Figurines, Representation and Corporeality in the Neolithic, London New York, 2005 pp. 13-15. 14. Dumitrescu Z. Structuri geometrice, Structuri plastice , Bucharest (1984) Structuri plane i structuri compoziionale. 15. H. Todorova "Kupferzeitliche Siedlungen in Nordostbulgarien", Hausmodelle von Ovcarovo, (1-5) und Radingrad (6) Mnchen (1982). 16. D. erbnescu, Modele de locuine i sanctuare neolitice Cultur i civilizaie la Dunarea de jos, XV (1997) pp. 232-251, Fig. 2, 3; 4, 1. 17. S. Hansen, A. Dragoman, A. Reingruber, I. Gatsov, J. Grsdorf, P. Nedelcheva, S. Oan-Marghitu, B. Song, Der Kupferzeitliche Siedlungschgel Pietrele an der Unteren Doanu. Bericht ber die Ausgrabungen im Sommer 2004 in Eurasia Antiqua 11 (2005) fig. 20; Hansen u.a. (2006) fig. 32 (P02B47), fig. 33 (B111Cer1). 18. M. Berdoucou, La cremique archeologique in La conservation en archologie, Paris (1990) pp. 83-84. 19. Dumitrescu V., The Neolithic Settlement at Rast, in BAR 72 (1980) pp. 57. 20. Warshaw Josie, The practical potter, a step-by-step handbook, Techniques, London (2001) pp. 46.
Photo by Arianna Bruno
CRISTINA GEORGESCU
Contact: [email protected] Cristina Georgescu is a conservator specialized in ceramics with a special interest on archaeological objects. She is currently working at the Vasile Prvan Archaeology Institute in Bucharest. After receiving her degree in Conservation from the National Art University in Bucharest in 2001, she specialized in ceramics conservation taking courses from the Romanian Ministry of Culture and Cults (2002, 2003) and the Astra National Museum Complex in Sibiu (2002). Her experience in the field includes several onsite projects involving mural paintings and archaeological object conservation. In 2001 and 2002 she coordinated the experimental archaeological workshops Kangourou, organized by the Romanian Archaeological Society. Since 2004 she is involved in the research project from the Neolithic site of Pietrele where she undertakes the conservation laboratory work of the archaeological materials. She has lectured at symposiums organized by the Vasile Parvan Institute and has published several articles in the field.
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ASPECTS AND DEVELOPMENT OF CONSERVATOR-RESTORERS PROFESSION SINCE WWII

by Hans-Christoph von Imhoff
The twentieth century has brought considerable development to the idea and to the operational means of the preservation of material cultural heritage. The different natural sciences became increasingly more implicated into the field fostering thus their incredible development during the last century. This was assisted by a more systematic, thus a more scientific approach to heritage preservation, in particular in the field of the humanities. Professions concerned with preservation, and most specifically conservator-restorers were brought to thoroughly investigate and analyse the reasons behind their activity, to analyse their responsibility and legal obligations, to define the aims of their activity and their profession and to ask and propose educational programs as well as training institutions for preservation professionals, conservator-restorers and conservation scientists. It also resulted in the foundation of national and international GOs and NGOs, associations of conservation professionals (like IIC, PACT, ICOM-CC, ICOMOS, ICCROM) and national institutes for preservation of material, i.e. tangible and more recently intangible cultural heritage. These exist now in many countries. Within this framework, congresses and regular international meetings are organised by the beforehand mentioned international bodies and also by national Conservator-Restorers organisations.
HANS-CHRISTOPH VON IMHOFF
How do conservator-restorers train, get educated and work Conservators use refined means to thoroughly investigate the condition and fabrication of the object, research its production technology, and take into consideration its history as well as the physical and social environment. On the basis of this knowledge they conceive their approach, action and treatments and document all findings, approaches and interventions, always applying scientific methodology. Looking at preservation in this manner, it is understandable why all conservation professionals take their task very seriously1, sometimes even too seriously and seem often to consider themselves as charged with a mission, even as missionaries. This may be one reason why conservation ethics constitute such a broad field of interest and discussion and why the emerging field of the history of conservation is of such importance. With this perception in mind of the origins of the conservation-restoration profession and its importance, it might be an advantage to outline how training and education was conducted in this profession some 40 years back before conservatorrestorers' education entered the academic curriculum. In 1959, when I ventured into this profession, the field was simply called restoration, and the way that most restorers became professionals was by a not officially recognised apprenticeship. Entering the profession prior to 1970, most people interested in becoming restorers (the common term at the time) took similar ways to approach professional education: having obtained a maturity degree (grade thirteen school level) and in love with the arts, archaeology, textiles or paper and books, they contacted the restorer of a major museum to enquire about the restoration profession.
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Usually this contact was followed by one or more intensive encounters and interrogations of both parties. Upon acceptance there was generally an agreement on a term of three years (unpaid), with a three-month trial period at the beginning. This direct training on the object and in the studio would be followed by a period of about three years of further education in the form of different internships with other restorers in other museums or private studios, arranged through personal networking and hopefully followed up closely by the initial educating conservator. This was not an apprenticeship with an official recognition, nor was it accompanied - as is legally obligatory for the recognised apprenticeships by typical apprentice instruction like theory of materials, bookkeeping and legal matters. Instead, conservation apprentices were encouraged to sign up for art history courses, history and related fields at the closest university, and to follow lectures in natural science and related subjects, at least at the status of an auditor (registered lerner). The success of this part of the professional education depended for one part on the students motivation and personal input and for the other on the educators quality in professional as much as in educational, pedagogical terms. Conservation-restoration is not only rather particular as a profession, it is also a certain state of mind, one the teacher has to achieve in each of his or her students, which makes it a highly demanding job. The fact that most conservators are bench and easel people, doers rather than talkers, does not make their education easier. In 1965, having accomplished an apprenticeship of 6 years under the terms described above I was
1H. Jedrzejewska, Ethics in conservation, Kungl. Konsthg-
skolan, Stockholm 1976, pp. 12, recommendation 7: "consider the object more important than your own person".
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CONSERVATOR-RESTORERS PROFESSION SINCE WWII
employed by the Swiss National Museum in Zrich as head of the not yet existing paintings and sculpture studio, at the level of a 'technical collaborator' at a salary level slightly above that of the Museums carpenter. Soon after having started my professional career, I too provided apprenticeship training. All this happened a year after the very first code of ethics for the conservation of movable cultural property, called "the Murray Pease Report", was published by the IIC in its well known journal "Studies in Conservation"2, a document which every IIC member by signing on recognised as binding. "Cleaned pictures" and the beginning of modern conservation The developments that lead to the emerging of modern conservation started in 1930. It was then that the first "International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art" took place, organised by the International Museum Office, a body from the Leagues of Nations. There it was decided to edit the still excellent "Manual on the conservation of paintings", which was printed in French in 1939, in English in 1940 and reprinted in 19973. After WWII the United Nations (UN) took the banner from the League of Nations, established UNESCO, which helped to found ICOM in 1946 and ICOMOS 1965 in Rome, both as NGOs. In 1967, the Executive of ICOM approved the constitution of its International Committee for Conservation (ICOMCC). This was achieved by fusing ICOMs International Commission for the Care of Paintings, later renamed Subcommittee for the Care of Paintings, and the Committee for Scientific Laboratories, later renamed Committee for Laboratories. The Paintings Commission had been established already in 1948 in London, and the Subcommittee in 1951 in Brussels. Interestingly enough it weren't the restorers who founded these committees but the assembled director generals of the world
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largest art museums, the Metropolitan Museum (New York), the Louvre (Paris), the National Gallery (London), the Doerner Institute (Munich), the Hermitage (then Leningrad) and a few others. What kicked it all off? In 1947, just after WWII, following the unpacking and reinstallation of museum holdings everywhere, the National Gallery in London mounted a revolutionary exhibition entitled "Cleaned pictures", i.e. pictures from which old varnishes and repaints had been removed, and the full freshness of the painting, often hidden for centuries, appeared. This exhibition was the public appearance of science and scientific conservation as major contributors to enhanced and better connoisseurship of paintings. This exhibition was created as a collaborative effort by Helmuth Ruhemann, the then restorer at the National Gallery in London, and Sir Phillip Hendy, its director. It resulted in a huge and highly polemic discussion in European professional journals and even in newspapers and became an extremely important international controversy about the cleaning of paintings, patina and the perception of what is original. Among the contributors were the most important art historians and conservation professionals of the time, including Cesare Brandi, Ernst Gombrich, Otto Kurz, Stephen Rees Jones and Joyce Plesters - the main public stage being the Burlington Magazine, still now a preeminent art historical periodical. Alessandro Conti assembled all the contributions on this topic and published them translated into Italian4.
2Report of the Murray Pease Committee: IIC-American Group,
"Standards of practice and professional relations for conservators", Studies in Conservation, Vol. 9, N 3, pp. 116
3Michael von der Goltz, Franoise Hanssen-Bauer (editors),
Manual on the conservation of paintings, ICOM re-edition, Archetype, London, 1997; ISBN 1-87332-41-7
4Alessandro Conti (Editore), Sul Restauro, Piccola Biblioteca
Einaudi, Torino, 1988, ISBN 88-06-59926-7
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This discussion caused many museum directors to investigate what took place behind the usually closed doors of their museums own restoration studios. It was the museum directors who wanted access to the working methods and considerations of their restorers, who wanted to know the details, the recipes and the methodologies of their restorers. The directors started to put their restorers and their work into the limelight of public awareness, and to engage them in discussions with art historians, scientists and the public. It was at that moment, in the 1950s, that modern conservation was conceived and shortly after also born. Resulting were discussions about appropriate training and education of this rather unknown species the conservator-restorer. Only few countries had started early to care and think about the education of restorers; so in the 40s and 50s only few institutions offered academic education for conservator-restorers - LIstituto Centrale del Restauro in Rome (1939/1947), the University of London (1948), the Art Academy in Stuttgart (~1950) and the National Academy of Arts in Prague (~1948). At that time conservator-restorers' qualifications were neither acknowledged economically nor in status. The period was characterised by a nearly complete lack of the conservators profession and its formal and legal recognition. Consequently during the second half of the twentieth century, the energy of the profession went into formulating education guidelines, creating conservation facilities, conceiving programs and setting up educational institutions for preservation. This situation persists in many places and has still not been resolved everywhere. To create a profession and win its acceptance is always a slow process. But, as the political and economic situation of state budgets worsens, it becomes increasingly difficult for this profession to get recognition in places where this has not yet been achieved.
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Despite the high standards required and requested for the education of conservator-restorers, at places they continue to be classified as artisans and craftsmen, poorly paid and with no say. This was very unsatisfactory, not only in terms of economics, but still more so in terms of the lack of recognition of the responsibility they bear. In order to exercise a responsibility a person has to be accorded the right to decide and intervene. As responsibility is one major criterion at all levels for the classification of employment positions, the term has to be defined and definable - the more responsibility, the higher the level of classification, the better the salary - a scale used to appreciate every function everywhere, be it public or private. Another very important criterion for classification is the type of education. Curators and scientists have long been educated at least to the MA level (lic. in Switzerland and France, mag[ister] in Germany and Austria) and more often to the PhD level, i.e. at university. If in their dialog with curators and scientists, conservator-restorers were to hold an equal level of responsibility and decision making power, their education had to be an academic one as well. As early as the 1950s, ICOM itself had requested this trinity partnership. And since then, the topic has always been of interest5. So the aim of the conservation profession became to earn academic credentials, i.e. to be educated at university with the academic title ladder attached to it. This happened quite quickly in North America where, with few exceptions, formal conservation education since 1967 (Cooperstown - NY) was always provided by universities.
5B.Ramsay-Jolicoeur, N.M.Wainright (Editors) Shared
Responsibility / Responsabilit partage, Proceeding of a seminar for curators and conservators, National Gallery of Canada, Ottawa 1990
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In Western Europe it took much longer to achieve the same as its universities are brain centred on the intellectual type of knowledge, places that provide education for white-collar jobs. In opposition to this, countries like the Czech Republic, Poland and Hungary have academic systems with a tradition of incorporating blue-collar professions and artistic disciplines into higher education. These countries had no trouble to establish conservation education at an academic level. The definition of the profession As this development set in, the need arose to define the activity and the responsibility of what then was called restoration, of the professional conservator-restorer and to establish precise qualifications for trainees, students and teachers. The first document in which some criteria were formulated the Athens charter - was written in 1931, followed by the Venice charter (1965) and the Declaration of Amsterdam (1975) but all of them were concerned predominantly with the theory and conservation of monuments. In the early 1960s, the American group of the International Institute for Conservation of Artistic and Historic Works (IIC-AG) under the lead of Murray Pease wrote the very first professional code concerned with conservation of movable cultural heritage. It was published in 1965 as "Report of the Murray Pease Committee: IIC American Group Standards of Practice and Professional Relations for Conservators" in "Studies in Conservation". In the introduction, the aim and reason for this document is spelled out very precisely: "These are objective procedural requirements for the proper conduct of professional work by members of IIC-AG. The purpose is not to create a handbook nor define the basic moral obligations that apply to most professional activities, but to list and describe actual steps that should normally be taken under the appropriate circumstances.
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In adoption of this statement of standards of practice and professional relationship the I.I.C.A.G. appreciates that all the details enumerated in each procedure may not be required in every case. The primary purpose of the document is to provide accepted criteria against which a specific procedure or operation can be measured when a question as to its adequacy is raised". As of 1965, joining the IIC meant signing and adhering to the Murray Peace report. In 1974, IIC-AG became the American Institute for Conservation (AIC) and continued its pragmatic approach to the verbalisation of the profession's activity. In 1979, AIC started to rewrite The Murray Pease Report, which was more pragmatic than the rather philosophical and moralistic continental European documents. The code revision was discussed by the entire AIC membership over a period of several years, and the revised code, which includes detailed commentaries for each paragraph, is still a work in progress today. The AIC directory carries, in each of the yearly issues, the entire document and the updates, the advances made in the very elaborate commentaries. What now is called the AIC Code of Ethics and Guidelines for Practice is a straight continuation of the Murray Pease report. "The conservator-restorer a definition of the profession", ICOM-CC, Copenhagen 1984, and related documents Most European countries took a different approach. In 1978 the ICOM-CC held its 5th Triennial meeting in Zagreb. Its international working group "Training in Restoration elected a new coordinator, in the particular circumstances, it was me who was to take on this group. The working group immediately set up a task force to start writing a definition of the profession "conservator-restorer". It took six years, one special working group meeting,
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two interim publications of the text, the collaboration of members of ICOM, UNESCO, IIC and ICCROM, and many discussions with restorers, curators and members of related professions, until the ICOM-CC Board of directors considered the definition ready to be voted on. This vote took place in 1984 in Copenhagen during the ICOM-CCs 7th Triennial meeting; the "Definition" was adopted by the entire membership present. Officially entitled "The conservator-restorer a definition of the profession" (internally called "The Definition" or "The document of Copenhagen 84"), this document was acknowledged by the Executive Council of ICOM in 1985 and was communicated and published in both the English and the French reference versions by UNESCO, ICOM6 and ICCROM in their regular information publications. The ConservatorRestorer denomination was then adopted. ICOM included The Definition in its general Code of Ethics (1986) as a footnote in Chapter 6. It was also adopted quite rapidly as the Code of the Czech Association of Conservators and served as the basis for the article in the Greek constitution regarding preservation of cultural heritage and the education of its professionals7. I still havent found out the number of languages into which this document has been translated. It is this document that introduced the term conservator-restorer to describe a professional who practices conservation and restoration of cultural
heritage. The reason for the use of this etymologically correct double denomination not only reflects a more differentiated perception of the professional activity, but also stems from the fact that in North America and the UK the conservation professional is called a conservator, and what is called restorer is more perceived as a charlatan who prepares paintings in illicit ways for backroom sales. In most European countries the denomination 'restorer' (Restaurator, retaurateur, restaurador, restauratore) is an old one and still widely in use. Until recently, the 'conservateur' (Der Konservator) was the very exquisite title for a museum director - particularly in France and Switzerland in professional terms close to what is a director in the Anglo-Saxon museum context. The double term conservator-restorer never entered the national usage in the UK or the USA, probably because there the term 'conservator' is completely unambiguous. However, it was and still is consequently used by all the relevant international organisations like ICOM, ICCROM, UNESCO, ECCO. The Swiss National Museum Muse Swiss seems to have been the first European national institution in recent years to apply this new terminology consequently to all levels of their museum staff8, thereby introducing the as-yet unused denomination Kurator (curator). As the professional designation 'curator' has no inherent double
6The text has been published in several professional
8Muse Swiss, Schweizerisches Nationalmuseum (The Swiss
organisations newletters and journals, amongst others in: MUSEUM, UNESCO (Ed.), N. 156/1987, p. 231-233; ICOM News / Nouvelles de l'ICOM, Vol 39, N 1, 1986, pp. 5
7Greek Law N 255711997, published in the Official
Gazette of the Hellenistic Republic, N 271, art. 9, special provisions (cited from ENCoRE, the Document of Vienna 112-1998, pp. 3, footnote 4. http://www.encore-edu.org/encore/ DesktopDefault.aspx?tabindex=1&tabid=186
National Museum), has elaborated denominations, job titles, job descriptions, organigrams and function descriptions, which regulate denomination, language and duties in a very clear way all formulated in "Einreihungskonzept, Funktionsgruppe Konservatorin-Restauratorin, Muse Swiss, Schweizerisches Landesmuseum, August 2002, a submission to the Swiss federal personnel authorities". This regulation and linguistic adoption has recently been accepted and adopted by the Swiss Association for Conservation and Restoration, SKR/SCR.
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meaning, I would guess that after half a century of hesitation, the term 'conservator-restorer' will slowly be replaced by the term 'conservator', hopefully by then also having lost its past ambiguous connotations. It was in the early 1980s, that most countries started to establish conservation training at institutions of higher education like universities, technical high schools and academies. This brought about an interest in creating formal curricula, exchange agreements between institutions, accreditation procedures, and more. Unfortunately the history of this development has not been written as yet; this should be done soon as the detailed historic information easily gets forgotten or lost and the players at the time active in these ventures start to disappear. E.C.C.O. It was ten years later, that a European development was started in France by the English conservator Carol Milner then President of the main French conservation association. She achieved the joining of the different national associations of conservator-restorers in Europe to form a European professional body the "European Confederation of Conservator-restorers' Organisations" (ECCO)9. As of its inception ECCO has developed a range of documents. First version appeared in 1993 consisting of three parts (Part I: The profession; Part II, Code of ethics; Part III, Basic requirements for education in conservation-restoration) and a completely revised edition in 2002/2003. A collaboration between ECCO and the Secco Suardo Foundation produced the Document of
Pavia, elaborated and signed by 45 invited conservation and related specialists, attending as private individuals during a meeting in Pavia, Italy (October 1997)10. This documents main concern is to foster the establishment of the profession at university level, to balance its curriculum, to define the role of the conservatorrestorer in the decision making process, to be in accordance with European development of training and research, to promote a regulatory framework to guarantee quality, to build a multilingual glossary and to provide the resources to do so. All of it is a well received counselling. The document has a great weakness though: it has been written neither by national nor international institutions, nor by associations nor other official bodies concerned with conservation, nor by official representatives of such institutions, but by prominent people mainly from professions neighbouring conservation, many of whom are employed by these same prominent bodies, but who acted - as clearly spelled out in the document - as individuals and, remarkable, by only very few conservators. So unfortunately the document represents the personal opinion of just 45 specialists, chosen by the meetings initiators. One would have wanted also more care applied to the fine graining of the texts of both official versions, English and French. There were follow-ups to "Pavia", the FULCO project "Framework for competence of conservatorrestorers in Europe", which established the "Vienna document" that received the support of the EU and several national ministries. Of considerable importance was the founding of ENCoRE, "European Network for Conservation-Restoration Education". Its aim is the specification of detailed educational requirements for the profession, the establishment of standards for this education, and the development of models for formal student and teacher exchange between conservation education
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9 http://www.ecco-eu.org 10http://www.museumsnett.no/nkf_n/pavia.html
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training institutions in Europe. This happened parallel to and in response to the 1999 Declaration of Bologna of the EU ministers of culture and education, regarding university education and the introduction of bachelor and master degrees into the European university system. University education and the inherent dangers in the case of this profession It is obvious that in the past few years the profession has made enormous efforts to develop its systems of education and training, its standing, and its codes of ethics and practice. Nevertheless I am somewhat worried: it is a profession in which the professional works with her/ his hands and eyes in excellent coordination with her/his highly trained brain. I have seen young conservator-restorers, trained by recognized institutions, who wrote brilliant diploma works, but after having passed their final exams were not able to stretch a painted canvas on a stretcher or do other delicate but routine conservation procedures appropriately, evidently due to lack of well trained manual experience and know-how. No abstracting description of a manual action nor any written instruction can substitute hands-on, well guided physical experience and extensive training. There is a danger at present that this profession, while gaining in great speed a lot more historical, scientific and highly refined knowledge about materials, procedures and also better source information, might be losing a lot of the physical know-how it had accumulated earlier passing a far less perfected curriculum which was not academic. Older conservation methods are not necessarily bad in themselves, but their application often caused damage when they used by inexperienced or incompetent persons who lacked the necessary understanding and the experience of how to use them correctly. This applies to the different classical relining
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techniques, hot or suction table treatments, varnish removal and much more, and to a lesser extend also to modern methods of conservation. Those trained yesterday will be tomorrows educators. What they did not learn and experience, their students might never experience either. This problem most often derives from and becomes enhanced by the present university system: in order to find time and energy to produce all the 'measurable' work to obtain the obligatory university credits, university has developed high experience in measuring the quality of written work. On the other hand practical work in the context of conservation and restoration of delicate objects, such as paintings, is more difficult to 'measure' in objective terms. As a consequence, practical work on objects becomes of secondary importance, and at times and at places much neglected and this, when the time attribution to practice in the training schedule is already rarely sufficient. More intensive studies of earlier restoration practice and their publication might help to tackle this problem to some extend. Fresh conservation graduates from most institutions today thus have a lot to train until being capable to manually perform successfully what may be called 'routine' operations in conservation. I say this from repeated personal experience and observation, talking to collegues, to teachers and also according to students themselves. They need to appreciate and to be training their own imagination and capacity to develop applications of their knowledge, develop new approaches and methods and perform difficult work on a high professional not routine level, not only when cleaning paintings. Thus, we are back to 1947 and to the "cleaned pictures" exhibition. I also worry about the present trend to create huge sets of rules and regulations, controls and counter checks, national and EU legislation for
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conservation, accreditation of university conservation teaching and teachers, which has quite some, but not only positive aspects. In a field as sensitive and changing as culture and its preservation, which continuously redefines itself, anything like the establishment of potentially too constringent and restraining control mechanisms, the writing of charters and laws should be done with enormous precaution and care. Otherwise we may devaluate what has been already achieved; so watch verbal inflation, watch ideological and stereotype approaches to the field as they may petrify the profession as it has happened in former times and places, and thus put in danger our material cultural heritage I like soft conservation with a fine, differentiated, educated and sensitive approach.

Contact: [email protected]
This paper is a reduced and up-dated version from a lecture I gave in 2003 during a symposium for lawyers and other professionals in the Art field organised by the Institute of Law of the Amsterdam University. It was internally e-published in the 'Theory and History News' No. 11 (2004) of the ICOM-CC working group 'Theory and History of Conservation-Restoration'; to my recent surprise it is available online in full length on the ICOMCC website. Some of the issues elaborated there will be if at all, just touched in this paper, such as communication, terminology and thesauri in conservation-restoration, legal issues in conservation, the intangibles in dealing with art in conservation, the role of science in heritage preservation, as well as considerations as to what may anthropologically be the origins of conservation. Different short versions of the lecture were presented at the ICOR2006 conference in Ludbreg (Croatia) and at EITEC 2008 conference in Oporto (Portugal), but have not been published. Here I concentrated on what is promised in the title: the aspects and development of conservator-restorer's profession since WWII.
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Hans-Christoph von Imhoff is conservator-restorer of paintings, polychromes and contemporary art. As chief conservator he founded the painting and sculpture conservation departments of the Swiss National Museum, the Fine Art Laboratory of the Canadian National Historic Sites and Parks and extensively restructured the Fribourg Museum of Art and History and the Basle Historic Museum conservation sections. One of the earliest members of the ICOM Conservation Committee and founder of several of its working groups, namely Non-destructive methods of investigation of works of art, Easel paintings on rigid support and Legal issues in conservation, he is at present member of IIC council and Professional Associate of AIC. He has long years been active as a teacher and lecturer in Switzerland, Canada, France, Mexico, the US and the Czech Republic. Independent editorial staff at the German professional journal RESTAURO he is writing columns and papers on conservation matters. As a conservator he is researching the technology of the Swiss artist Varlin (alias Willy Guggenheim, 1900 1977) and has a fundamental interest in the conservation of this painters great work.
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THE CONSERVATION OF THE EXTERIOR MURAL PAINTINGS OF COLTEA CHURCH

A minimal intervention approach to aesthetic presentation
by Simona Patrascu and Teodora Poiata
case study
SIMONA PATRASCU and TEODORA POIATA
This paper discusses the conservation project of the exterior frescoes from Coltea Church, a 17th century monument from Bucharest. Located in the centre of the capital, the church was subjected to extremely aggressive deterioration factors that induced advanced decay and extensive loss of its exterior mural decoration. In these circumstances, among the problems raised by the conservation treatment, the aesthetical presentation became a challenge for the conservators. A minimalist approach was chosen for the treatment of the support lacunas using coloured and texturised fillings, in order to valorise the original painting fragments. Introduction The conservation project for the exterior mural decoration of Coltea Church1 required a particular approach due to the fact that the condition of the monument is the result of many previous interventions, some owing to significant historic circumstances. Among the interventions that aimed to 'restore' the monument, there are some that have acquired historic value of their own, such as the interior oil paintings executed in 1871 to replace the original frescoes which had been previously removed. This major intervention was the result of a change of taste that became fashion in the second half of the 19th century and that introduced a new artistic manner under the influence of the Western art: the neoclassicism. Oil painting was a novelty in Romania, particularly in churches, appearing colourful and brilliant when compared to the traditional Byzantine frescoes. From this reason it was used as decoration technique not only for new monuments but also to replace the already existing frescoes in churches. At Coltea, the repainting executed by Gheorghe Tattarescu2 was limited to the interior walls of the church. This oil painting induced a heterogeneous aspect of the overall ensemble, although today we must
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Figure 1. Coltea Church in Bucharest, front elevation.
regard it as a fait accompli and acknowledge its own historic value. Only a small part of the original 17th century painting attributed to Parvu Mutu3 was preserved in the porch of the church, the exterior murals decoration and a frieze in the lower part of the original steeple, recently discovered during the rehabilitation works. As the monument presented several historic interventions from different time periods, a difference had to be made between those that are significant to its identity. Thus, the ultimate objective of our intervention was to correct and regain the authentic configuration and artistic image of the church.
1The project took place in 2006 and was coordinated by
Simona Patrascu, Restauro Art Grup S.R.L.

2Gheorghe Tattarescu, one of the first neoclassicist artists
from Romania, decorated several churches in this manner.

3Parvu Mutu (1657-1735) (eng. Parvu the Mute) was a Walla-
chian painter, famous for his portraying manner and for decorating a fresco several Romanian church-monuments.
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THE CONSERVATION OF COLTEA CHURCH
Images 2 and 3. Detail of mural painting from the end of the17th century executed in fresco technique by Parvu Mutu and preserved in the porch of the church (left) and detail of the interior mural painting done by Gheorghe Tattarescu in the 19th century to replace the original frescoes.
Monument description The actual Coltea church was erected around 17004 by Mihai Cantacuzino and it was built over the foundation of an old wooden church. The new edifice was built in masonry, and it gradually developed into a monastery, a complex ensemble that included a hospital, a school, a chapel and several other annexes. The highest bell tower in Wallachia was erected at the entrance of the surrounding wall. Unfortunately the 1802 earthquake seriously affected Coltea ensemble: the tower suffered serious damage and was demolished in 1888 due to the systematisation of the urban area. In the same period the hospital was completely rebuilt. The church steeples, irrecoverably affected by the earthquake were also demolished, one of them being rebuilt in a later rehabilitation project. From the original ensemble of Coltea monastery only the church has survived until the present. The church was built on a triconch plan, with a slightly widened narthex and an open porch with
arches supported by columns. The church, measuring 27.50 m long, 11.95 m width (on the apses) and 10 m height, seems rather small today when compared with the buildings that surround it, although at the time of its construction it was one of the most important medium-sized churches in Bucharest.
4The exact date is not known, but by some literature sources,
it was between the years 1695 and 1698, while other mention the period between 1700 and 1701.
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Figure 4. Actual image of Coltea hospital, located in the proximity of the church. The lower part of the image shows the archaeological excavations that revealed the walls of the former church.
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Exterior mural decoration Coltea church is a monument with well balanced volume and beautiful proportions, emphasized by the configuration of the facades. These are separated into two registers through a rope shaped plaster frieze. Recent surveys have uncovered a dentate frieze made of bricks below the first one. The horizontal registers are divided in several niches that vary in shape and size. The superior register is decorated with arched niches and the inferior one with three overlapping rows of accolade-shaped niches. The facades are decorated with ornaments executed in a fresco technique. A basic chromatic scale was used with red, ochre and black colours on ochre background. The decoration depicts repetitive vegetal and geometric motifs. The largest preserved area of mural painting is in the superior register of the south facade while the rest was covered with plaster repairs and layers of repainting from different periods. The north facade was entirely replastered, thus all its mural decoration is lost. Following stratigraphic surveys it was found that many of the repairs were in poor condition, the plaster was friable or macerated and part of the niches profiles was damaged at the time of our intervention. Conservation state and degradation causes Aging factors caused by the characteristic local climatic conditions, calamities such as damages occured during the Second World War and successive earth-quakes have caused significant degradation of the monument over time. Among other destructive factors, the inadequate repairs with cement content, the elevation of the ground level around the church, large areas of concrete and asphalt in the vicinity and inadequate sewerage and drainage systems led to the increase of moisture in the walls.
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Figures 5 and 6. South facade. Image of the church after the intervention made in 1989.
Humidity, by both infiltration and capillarity, is responsible for the loss and decohesion of the support and paint layers, as well as for the pulverulence and detachment of the colour. At the moment, even if the ground level was lowered back to the initial level (80 cm above the 1.50 m foundation) the walls moisture problem has still not been resolved. Situated on one of the main thoroughfares in the centre of Bucharest, Coltea church is also subject to degradation due to several atmospheric pollution sources.
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Figures 7-10. Photos from 2001, before the rehabilitation project. Construction system of the calottes masonry (upper left), aspect of the church roof (upper right), degradation of the stone ornaments and column plinths in the porch (lower left) and degradation of the masonry in the porch (lower right).
Prior to our intervention, black areas could be seen on the facades due to the presence of calcium sulfate dihydrate (gypsum, CaSO4.2H2O). X-ray diffraction has shown that its presence was due to the sulfating process resulted from the reaction with the sulfur dioxide (SO2) present in the atmosphere. Contrasting, light areas could be seen on the surface due to exposure to acid rain (sulfur and nitrogen acidic compounds). The painting of the northern facade was the one more affected by the rain, which falls directly onto the wall. The high level of moisture favoured the appearance of biologic attack on the mural surface, both on the south and north facades. According to the analysis made by the National Research Institute for Conservation and Restoration of Cultural Heritage, fungal species such as Penicillium, Mucor and Acremonium were present on the painting.
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Figure 11. South facade, inferior register. Example of an area affected by biological attack present on the painting surface.
Figure 12 (from left to right). The identified fungal species: Penicillium, Mucor and Acremonium spores.
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Furthermore, due to their exterior location, the paintings are subjected to severe climate changes: a very high temperature and relative humidity during the summer (maximum 52C and 90% RH) and low levels during the winter (maximum -20C), these having lead to changes in the structure of the constituent material and at the same time to the alteration of the pigments quality. Even if generally we may state that the conservation state of the constituent materials was relatively stable, the overall state of the monument was poor, the masonry presenting degradation such as profound cracks in the axis of the chancel and of the two apses. Numerous cracks appeared in the domes and correspondent arches and extended on the south and north walls and superficial cracks were visible on the entire upper surface of the facades.
Figures 13, and 14. Degradation of the support due to the consolidation works (below and upper right). Figure 15. Leakage of consolidation materials on the mural painting surface (lower right).
The profound walls cracks induced serious structure problems to the church. In order to solve this problem, a consolidation project started in 2000. Previously to this project, the painted surface was secured by the conservators in an emergency intervention in order to avoid its further degradation during the works. However, the consolidation intervention worsened the state of the paintings leaving consolidation material leakages and drops on the surface. In the course of time, several other conservation attempts were made (as a consequence of the damages occurred during the 1808, 1838 and 1940 earthquakes) but even if they succeeded to temporarily rehabilitate the monument, most of them proved to be incorrectly executed, having generated a further chain of degradation at the
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support and consequently the paint layer level. Moreover, these several interventions and repairs resulted in the inherent change of the ensemble configuration. The most evident alteration was caused by a very recent rehabilitation project that included the reconstruction of the two steeples of the church. Today, one can see a historic ensemble restored by parts and based on different aesthetic principles. Indeed, there is a disturbing difference between the rebuilt surface and the conserved one. At the time of our intervention, a special situation was encountered with the north facade, whose entire surface had been practically rebuilt of plaster based on lime and sand. In the moment of our intervention, its advanced state of deterioration did not allow its preservation on certain areas, even if properly consolidated. In these conditions, the removal of friable and macerated parts up to the masonry was required. All the above mentioned forms of degradation required the implementation of a work methodology that could resolve the entire existent problems of the ensemble.
Figures 17 and 18. Different forms of degradations of the colour layer.
Figure 16. Hammer marks on the surface, made in a previous intervention with the purpose of applying a new plaster layer.
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Figure 19. The state of the northen facade, previously rebuilt. A view of the upper register.
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Figure 20. Example of drawing made to record the conservation state of the surface prior to intervention (south facade). Note the percentage of preserved painting fragments (orange areas) in rapport with the original support surface (white areas) and the previously repaired areas (grey areas). Areas affected by biological attack are represented in green.
Technological exam The masonry The masonry is made of good quality well-fired bricks measuring cca. 3.5 x 28 x 14 cm. These are bound together by mortar made of coarse river sand and lime, applied in layers of almost the same thickness as the bricks. The walls have a thickness of 1.25 - 1.40 m and consist of double lines of bricks placed alternately along their length. The support layer The support layer is made of lime and sand mortar. The previous fillings and repairs were generally made with compatible mortars but also with lime, cement, gypsum and whitewash along the cracks and fissures. The laboratory tests of mortars used in the repairs showed that they have different hardness grades, some being very friable while others are compact and of an average hardness. The binder/ aggregate ratio ranges from 1/9-1/3. The mortar sand grain is between 0.1-2mm, with a preponderance of 200630 m.
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The paint layer The painting was done onto a fresh plaster made of lime, sand and tow. The pigments identified by chemical analyses are iron oxides (red and yellow-ochre), smalt blue and carbon black. Intervention Methodology The conservation-restoration treatment followed the methodology established by us and previously approved by the Romanian Ministry of Culture. The methodological steps were determined after carrying our preliminary tests on the entire intervention area in order to establish the particularities of the surface and to define the appropriate operations to be executed, as well as the substances, solutions and materials to be used in this process. Tests were particularly important to determine the effectiveness of various treatment procedures in respect to the response of the painting and to achieve a preliminary impression of the results. Tests included stratigraphic surveys of the area to establish the extent of original painting under the previous fillings and cleaning tests for the consolidants traces, lime drops and other deposits present on the surface.
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Figure 21. A view during the conservation works.
At the same time laboratory exams were carried out for the support and paint layer as well as for the materials used in the previous interventions, in order to establish very clearly their nature and to be able to ascertain the treatment for the entire surface. After the removal of the previous repairs, the methodology intervention was revaluated in respect to the uncovered surface and its actual conservation state. It was seen that the losses at the support layer level were extensive and the only possible approach that would permit the valorisation of the original painting fragments was to adopt a minimalist approach for the aesthetic treatment. Interventions at the support level The first task to complete was to remove the incorrect repairs from the previous interventions or the fillings done with mortar that lost its cohesion.
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These were executed with several types of materials (such as lime and sand, sometimes with addition of tow, or lime, sand and cement) and often exceed the areas of the lacunas, overlapping the painting surface. Due to the poor condition of the mortar, this had to be removed until the masonry in some areas. The immediate step was the biological treatment of the surface. A solution of Desogen (3%) was applied by brushing or spraying through Japanese paper. The areas affected by biological attack were monitored during the entire intervention. It was then proceeded to the consolidation of the friable areas of the support layer with a solution of Syton X30 (5%). The operation was performed by repeated brushing or spraying the solution at time intervals until the expected results were achieved. Once the support was stabilised, we could proceeded to the filling of the cracks and deep lacunas of the support. A coarse mortar was applied in several layers so that it would evenly
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Figures 22-24. Aspect of a niche before intervention (left), after removal of the fillings (center) and after filling the lacunas with mortar (right). Deep lacunas of the support were filled with mortar and brick pieces in order to achieve a resistant and compatible material with that of the original structure. Figure 25. Consolidation of the support by injection.
remain cca. 5 mm below the level of the paint layer. This surface difference allowed the ulterior application of a finer mortar layer. After filling the lacunas, the consolidation of the detached areas of the support by injection was performed, using Ledan 1/1 in distilled water. The very fine cracks that could represent outlets for the injected consolidant were temporarily secured by the application of pelure paper strips with purified Carboxymethyl cellulose. Cleaning and consolidation of the colour layer Surface cleaning aimed at the removal of the dirt deposits but also of the overpainting layers. It was perform by alternation of dry and wet means (wishab sponges, erasers, fibreglass sticks, scalpels) until the expected result was obtained. The application of patches with ammonium carbonate (5%) was necessary in some areas to soften the hard deposits present on the surface, such as cement, lime drops and leakages from the previous consolidation works. The removal of overpaintings was preceded by tests to establish their resistance to solvents and the response of the original surface. As they were
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Figure 26. The mechanical removal of the overpaintings.

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done a secco, with pigments and a weak organic binder, the removal was possible by softening the areas with ammonium carbonate (5%) patches left in contact with the surface for about 5 minutes, followed by the mechanical removal of the layers. Cotton swabs were further used in order to eliminate any traces from the painting. The consolidation of the surface was done by treatment with ammonium oxalate5. This pH neutral product was chosen as an alternative for the treatment with barium hydroxide. Poultices with paper pulp and ammonium oxalate solution in distillate water (5%) were applied for 4 to 6 hours at a temperature between 18 and 24 C, so that the transformation of calcite in calcium oxalate can
be achieved. Due to the fact that the conservation project took place during the summer, and the day temperatures were between 32 and 40 C, the treatment with ammonium oxalate took place during the night. This treatment is laborious
5M. Matteini, and S. Giovannoni proposed the use of ammo-
nium oxalate to produce a superficial layer of calcium oxalate on limestone substrates such as wall paintings. Carbonated calcium and calcium sulphate react to treatment by poultice with ammonium oxalate solution to recover the cohesiveness of the surface, leaving unaltered the optical and hydrophilic properties of the material. Matteini, M. and Giovannoni, S. 1996. "The Protective effect of ammonium oxalate treatment on the surface of wall paintings". In: Painted Facades. Proceedings of the Eurocare Project, Vienna 1996, pp. 95 - 101.
Figure 27-30. Consolidation of the surface by treatment with ammonium oxalate: the application of the paper pulp with water on the surrounding areas followed by the poultice with ammonium oxalate. These were applied on areas determined according to the architectonic shapes or decoration.
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and requires attention to other factors involved, such as the protection of the surrounding surface on an area of 2-3 cm by the application of distillate water patches in order to prevent the migration of the ammonium oxalate. This treatment achieved the reduction of the porous surface absorption coefficient and the enhancement of the cohesion and thus, the protection against atmospheric pollutants. Aesthetical presentation The aesthetic treatment of the paint layer was done according to the minimal intervention principle, a decision required by the painting condition itself. Limiting the chromatic reintegration of the colour to minimum we could value the original painting fragments and preserve the authentic aspect of the surface. Thus, the losses of the support were filled with coloured mortars under the level of the paint layer while only a subtle reintegration was done in areas where the colour layer was lost. A neutral tone was used to naturally shade away the visually disturbing elements such as the considerable erosions of the plaster. The small colour losses on the painted ornament were punctually integrated by velatura and ritocco. Filling the support losses Aesthetic presentation of the areas with extended support losses using coloured, texturised fillings was made on the entire north facade, partially on the eastern facade and in the inferior register of the south facade. Mortar made of lime and stone powder was selectively coloured with pigments in order to achieve a neutral but closer tone to that of the original. The operation was carried out by applying mortar in the superficial lacunas of the support or those large lacunas previously filled, followed by the application of a porous and uneven texture to
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Figure 31. Consolidation of the surface by ammonium oxalate treatment; application of the poultice on a vegetal ornament.
Figure 32. West facade, first register, sixth niche, aspect of the area after filing the lacunas of the support.
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the fillings. Mortars composition was established as a result of a series of tests and it differ from an area to another, depending on the local tone of the original painting. In the composition of lime stone mortar various amounts of pigments were added (blue and iron oxides: black and ochre) in order to obtain areas with a chromatic quality that closely resemble to the original but remain neutral at the same time,
recognisable from the original also through their texture and level. The composition of mortar contained one part of hydrated lime and one part of fine stone powder and was pigmented depending on the application area, as shown in Table 1. The chromatic reintegration of the colour layer As previously mentioned, our intervention was minimal and sufficient to balance the chromatic harmony of the surface and also to allow a good perception of the original painting. Thus, the various damages of the colour layer were treated selectively as follows: - for the chromatic integration of the erosions it was sought to apply a diluted watercolour glaze matching the quality and accumulation level of the surface patina. At this level, the losses were superficial and were visible only as a slight abrasion affecting the continuity of the paint layer. Our intervention reestablished the continuity of the area without changing the colour and tone of the paint layer.
Figure 33. The application system of different coloured mortars over the previously applied layers of coarse mortar. Table 1. Types of coloured mortars used for the filling of the support lacunas.
Types of mortars 1 2 3 4 5
Composition lime 500 ml 500 ml 500 ml 500 ml 500 ml stone 500 ml 500 ml 500 ml 500 ml 500 ml ochre 10 ml 25 ml 30 ml 35 ml 15 ml blue 2 ml 2 ml 2 ml 2 ml 2 ml black 0,5 ml 2 ml 2 ml 2,5 ml 1 ml
Texture washed washed washed washed washed
Area where applied

(under the level of the paint layer)
cornice tore, niche no. 4 (south facade, 1st, 2nd registers), east apse, niche no. 7 (east facade, 1st register) median frieze, inferior areas, west facade superior areas, south apse and partially east apse - inferior area of south and west facades, north facade.
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Figure 34. General view of the east facade (altar) after conservation.
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- for the chromatic integration of the lacunas in the pictorial field neutral tones close to the local colour were applied that would easily differentiate our intervention from the original. The methods used were velatura and ritocco. In a final stage a fixative was applied to protect the chromatic integration (Acryl 33, 3%). Conclusions By using coloured mortars applied below the level of the support layer the chromatic unity was achieved and at the same time, the authenticity of the mural ensemble was preserved. This type of intervention was also sought to easily differentiate between the fully reconstructed areas (towers, cornice, northern facade and inferior areas) and those few areas that preserved original decoration. Acknowledgements
The authors would like to thank conservators Anca Nicolaescu, Nicoleta Pascale, Mihail Mihalceanu and Mihaela Topor without whom the successful outcome of this project would not have been possible to achieve and to all other professionals whose contribution and advice has been much appreciated. The participation of conservation students from the National Art University, willing to accumulate more experience and knowledge on this worksite, has been most welcomed. Our thanks are extended to CONTEAM constructors team led by Dipl. Ing. Alexandru Georgescu as well as to the contractor company AST Romania, particularly to Mr. Michael Kratzer and Mr. Mircea Cvaci for their consideration and permanent support.
Photo credits
Figure 2. Photo by Elena Martin, 2001. Figures 5, 6. Photos by Raluca Biltiu Ceicu in 1989. Figures 7-10. Photos by Teodora Poiata and Andreea BaneaGrimm in 2001 during the conservation of the porch. All other photos by Simona Patrascu, Anca Nicolaescu and Teodora Poiata during the conservation project in 2006. Figures 35-37. After conservation, final aspect of different niches.
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SIMONA PATRASCU
TEODORA POIATA
Simona Patrascu is a conservator of mural paintings and one of the co-founders of Restauro Art Group S.R.L. conservation enterprise. She specialised in 1995 in the conservation of Ceramics, Glass and Metal, at Spiru Haret University, in Bucharest and in 1998 she received the degree in mural paintings conservation from the National Art University in Bucharest. Since 2000 she is member of the conservation section and professional commission of the Romanian Artists Union. While at Restauro Art Grup, she coordinated several conservation projects of churchmonuments from Romania.
Teodora Poiata is a paintings conservator and has extensive experience with mural paintings, in particular with Byzantine frescoes. She received her BA degree in conservation from the National Art University in Bucharest in 2002 and the MA degree in 2005. Her interests include documentation methods and open access to information in conservation, which motivated her to co-found e-conservation magazine where she is editor since 2007. At present she divides her time between Romania and Portugal where she works in on-site mural paintings conservation projects.
Anca Nicolaescu and Simona Patrascu, together with the conservator restorer Silviu Petrescu, founded Restauro Art Grup S.R.L. in 2000, a conservation enterprise accredited by the Romanian Ministry of Culture. The enterprise had run several conservation projects for important historic monuments in Romania, among which the conservation of the mural ensemble from the Surpatele Monastery (2002-2003), the a fresco mural painting conservation from the Church of Jgheaburi Monastery (2003-2004), the conservation of the exterior a fresco murals and architectural renderings from Coltea Church (2006) and Mantuleasa Church (from 2007 up to present).
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book revie
DECOLONIZING CONSERVATION Caring for Maori Meeting Houses outside New Zealand
Review by Daniel Cull
Editor: Dean Sully Publisher: Left Coast Press Publication Year: 2007 Pages: 256 ISBN: 978-1-59874-309-8 (Hardback) 978-1-59874-310-4 (Paperback) Language: English University College London Institute of Archaeology Publications
Is the past too hard a task.... I ask And I wait as I do... as I have... as I will
extract from poem 'So Who Invited Tu?' by Rosanna Raymond, pp.174
Who owns the past? Who owns the future? How do we come to terms with our pasts and move forwards into the future? And what role is there for heritage today? Through reading this book I explored these questions that, I feel, are at the heart of the future of conservation in the so-called 'post-colonial' and 'post-modern' world. Colonialism is the expansion of nationality, or territorial enlargement. "The underlying order of colonialism is reflected in control over the nature of social relationships, trade, sovereignty, law, and the activities of Western science" (Sully pp.29). Analysis of colonialism by Gosden and Knowles (2001 pp.5) set out three colonial models: "acculturation", "maintenance", and "hybridity".
Understanding the basis, and form, of colonialism is important to conservation, because "colonial relations always involved material culture" (ibid pp.6) and as Sully (pp.30) points out: "Control passed from the colonised to their colonisers over culture itself" it is this that both influences and contextualises the objects we study, and their 'acquisition'. In the 'west' de/anti-colonialism is a radical idea (by which I mean it is anti-status-quo), since the 1960's radical ideas in academia have been tied to post/neo-marxism and the writings of "National Liberation" champions (c.f. Fanon 1967). Today however a different movement has (re)arisen on the streets, its theoretical discourses have
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been mirrored in the museum world, if not yet widely within the academy. This movement against authoritarian and hierarchical social structures posits as its ideology simply: "process" (c.f. Graeber 2007). It is noticeable linguistically, that both this 'new movement' and contemporary decolonial practice in the 'museum world' choose words such as "dialogue", "discourse", "collaboration", "consultation" and "consensus" as their buzz words. These words indicate process rather than completion, they signify the importance of 'the journey' over presuming to know the 'end point'. This book then fits, perhaps subconsciously, within this new outlook, as can be seen from the choice of words used in the title ('decolonizing' rather than 'post-colonial') reflecting this 'process' vs. 'final agenda' thinking that is at the heart of the ideology of these, non-connected, but concurrent, projects. The book has three areas of concern; the colonial relationship, meeting houses outsides Aotearoa (New Zealand), and specifically Hinemihi o te Ao Tawhito at Clandon Park, in the English county of Surrey. The book not only investigates the journeys that have taken the four Maori meeting houses now outside Aotearoa from their homelands, and seen them end up in Museums in Germany, the United States of America, and in the grounds of a country manor house in the United Kingdom. The book also follows the journey of western museum professionals and Maori communities as they have come together to form collaborative projects to care for these meeting houses. This concept of "journey" seems to me to have coloured the book as a whole, and like all long arduous journeys the emotional turmoil undergone practically seeps from the pages. The concept of journey appears in various guises within the book, at its most literal it is used to refer to physical movement: "like her people six
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years earlier, Hinemihi (I) was on the move". (Schuster pp.181) however elsewhere journey is summoned as a metaphor to explain process. Delong and Lithgow (pp.152) discussing the National Trusts mission of public engagement state that: "Journeys such as those made by the staff and Maori community on what is to be done with Hinemihi have the potential to demonstrate this principle of engagement". Of course the most obvious next step of the journey may be a return home (repatriation in the parlance of museology), and this is discussed within the book. There is however some disagreement as to whether this should happen, Schuster talks of younger members of Ngti Hinemihi talking of fighting for her return, whilst in another article, Burrows (pp.172) says "I feel sad when I hear of people talking about Hinemihi returning" as he reviews the important role she has played for Maori living in the UK he concludes "I would like her to stay". Whilst it is clear that today she remains through the continuation of a colonial relationship, in the form of cultural hybridity, her presence could in fact be seen as having a positive potential for sharing Maori knowledge with the world, and I too would be sad to see her leave, for she is a powerful teacher. Perhaps then the words of James Schuster (pp.189) are most appropriate: "When she is ready to return, she will". This is an important book, not because it argues for anything that is particularly new to the conservation profession, but rather because it once again, and very ably, demonstrates that it is possible, desirable, and effective to develop 'community conservation' with communities in distant lands, to break down the barriers of former colonial social relationships, and to build new 'participatory' social relationships in their stead. As a record of the life and conservation of Hinemihi, in many respects, this book is like
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a page torn from a diary, we (the reader) are getting but one short snapshot of Hinemihis wondrous life; from surviving a Volcanic eruption and providing care and shelter to her people, to providing care and comfort to wounded Maori soldiers in World War I, through to providing comfort and a piece of home to Ngti Ranana (London Maori club) and other associated groups, to meeting conservation professionals who are assisting in her survival, and acting as a representative and diplomat of Maoridom in the United Kingdom. These stories represent neither the full nor final story, which is just as it should be. How her journey continues and where it takes her none of us can know, but it is an honour to have shared in it.
CALL FOR SUBMISSIONS

e_conservation magazine is open to articles submission on a wide range of relevant topics for the cultural heritage sector. Next deadlines for article submission are: for Issue 9, April 2009 submissions due 1st March 2009 for Issue 10, June 2009 submissions due 1st May 2009 Nevertheless, you can always submit your manuscript when it is ready. Between the receival of the manuscript until the final publication may pass up to 3 months according with: - the number of the manuscripts on hold, submitted earlier by other authors - the release date of the upcoming issue - the pre-allocated space in the magazine to each section Please check our publication guidelines for more information.
Bibliography (of additional citations) 1. F. Fanon, The Wretched of the Earth, Penguin Books, London, 1967 2. C. Gosden and C. Knowles, Collecting Colonialism: Material Culture and Colonial Change, Berg Publishers, Oxford, 2001 3. D. Graeber, Possibilities: Essays on Hierarchy, Rebellion, and Desire, AK Press, 2007
Review by Daniel Cull, Conservation Consultant/Object Conservator Contact: [email protected] Web: http://www.dancull.wordpress.com
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LACONA VII PROCEEDINGS Lasers in the Conservation of Artworks

Proceedings of the International Conference Lacona VII, Madrid, Spain, 17 - 21 September 2007
Editors: Marta Castillejo, Pablo Moreno, Mohamed Oujja, Roxana Radvan and Javier Ruiz Publisher: CRC Press Publication date: August 2008 Pages: 512 (Hardcover) ISBN-13: 978-0-415-47596-9 Language: English
LACONA is the most renowned international conference in the field of lasers application to conservation. The conference gathers together every two years researchers and conservatorscientists to share their latest projects and experiences. For those involved in this area of our profession, the conference is an up-to-date record of experience, achievements and recently proposed solutions for laser technology applied to conservation of works of art. The use of lasers in conservation is not new; it dates back to 1972 when John Asmus first applied laser cleaning to marble sculptures. Since then, laser technology has opened new doors of knowledge in conservation, not only in laser cleaning but also in the analytical field. Over the last three decades, much research has been done and technology has developed considerably. From 1995, when LACONA first took place, up to the latest edition - LACONA VII held in Madrid
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in 17-21 September 2007 - the conference seems to bring together more participants and more diverse, advanced contributions. This time the book of proceedings was published in August 2008 by CRC Press in a carefully bounded, full colour hardcover edition. As expected, the volume brings to light recent studies and developments, for both the already established laser systems applications and the newly explored, innovative approaches used to address usual and less usual conservation problems. The book gathers 77 contributions organised in 10 sections according to their thematic: Innovative Approaches in Laser Cleaning and Analysis; Analytical Techniques; Portable Laser Systems for Remote and On-Site Applications; Laser Cleaning of Monuments and Sculptures; Laser Cleaning of Paintings and Polychromes; Laser Cleaning of Metal Objects; Laser Cleaning of Documents and Textiles; Structural Diagnosis and Monitoring; Imaging and Documentation; and Miscellaneous. It has become a tradition that the very first article
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of the proceedings is authored by John Asmus, who is considered to be the grandfather of laser art conservation. Encouraged by his early discovery of laser cleaning in Venice (Italy) in the 70s, John Asmus continued testing and applying laser to clean several materials. The paper now presented, Photonic restoration of marine artefacts and vessels of New Spain, documents his extended experience with laser cleaning in Ballas Point, San Diego Bay (USA). Among other uses, the author describes laser cleaning tests of several archaeological artefacts such as fossils, coins and wood, and diverse equipment including that used for underwater laser cleaning. The opening section of the book is Innovative approaches in the laser cleaning and analysis. It counts 8 articles that summarise the latest technologic advances in the field. In laser cleaning, the growing use of femtosecond lasers should be noticed, which offers shorter pulse duration minimizing potential damage to the surface, and may be used for the chemical reconversion of pigments. Nowadays most analytical techniques are based on laser technology, which is closely connected to any industry that we can think of. Its application to art conservation is of high importance and our understanding of art and art materials wouldnt have been so advanced without it. The section dedicated to analytical techniques is the largest of the book, containing 13 papers. The diversity of techniques, their applications and further case studies makes impossible their reference in this review. However it is worthwhile reading and I have found especially interesting the article concerning the thermal decomposition of basic lead(II) carbonate by San Andrs et al. This single paper explains in detail the thermal decomposition process that involves historical lead-based pigments, in particular the production of litharge, massicot
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and lead white. The paper is an important addition to the current research on laser induced degradation of pigments, a possible side effect of laser cleaning. In case of immovable cultural heritage, portability of laser systems is a major concern because the most likely scenario is that the monument requires on-site treatment. In fact, only a limited number of objects may be transported to the laboratory or workshop and therefore the development of portable laser systems for laser cleaning and analysis is a priority. In particular, the section dedicated to portability of lasers systems comprises research made with different types of lidar based systems. Lidar stands for Light Detection and Ranging and it is a remote sensing system used to collect topographic data. One of the most known but also intricate and demanding laser applications is cleaning. There are four sections fully dedicated to laser cleaning of several materials, namely stone-based materials (monuments and sculptures), painted surfaces (paintings and polychromes), and metals and organic materials such as paper documents and textiles. The section dedicated to the laser cleaning of monuments and sculptures is surprisingly short containing only 5 papers. I say surprisingly because this section is the only one specific to the cleaning of stone-based materials which has been the main cleaning application for considerable years. In particular, the section contains case studies of architectural decorations and a study of granite stone. Again to my surprise, there is only a single case study of sculpture cleaning, that of ivory statues cleaning with Nd:YAG laser. The largest section is the one dedicated to paintings and polychromes, a remarkably growing field of research. In fact, a safe interaction of
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paintings and laser radiation is one of the most difficult processes to achieve due to the high sensitivity of the paint layer. Safety procedures dictate that the removal of varnish - the most often use of laser cleaning of paintings followed by removal of dirt deposits should be only partial in order to avoid discolouration. The papers of this section present the actual state of the art in this domain. All the papers describe actual case studies of paintings with several laser types, namely Nd:YAg, KrF and Er:YAg. Among these, Er:YAG laser attracts more attention because of the limited research of its applications. One of the characteristic properties of this laser is that by working at 2.94 m it requires the presence of OH groups either at the surface or within the material composition. I would like to refer here to two papers in particular. The first is Laser cleaning of stuccos fragments from an early middle age bas-relief where Sansonetti et al. applied mostly laser cleaning with a Nd:YAG system but also compared the results obtained with that system with an Er:YAG laser. The Nd:YAG laser was found more suitable for that type of support because it allowed to conserve the patina while the Er:YAG produced a whitish surface. Furthermore, Camaiti et al. studied the interaction of laser radiation at 2.94 m with azurite and malachite pigments. It was found that wetting agents were required in order to avoid pigment discolouration and that tenorite is an alteration product of both pigments. I welcome these researches but the fact that so far the effect of this wavelength has not been completely understood in many materials makes me wonder if the commercial Er:YAG systems are being well used. The last section is dedicated to imaging and documentation. A high-profile paper presents the case study of the Mona Lisa: Ultra highresolution 3D laser colour imaging of paintings:
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the Mona Lisa by Leonardo da Vinci by Blais et al. I have already come across some news about this project on the internet but this is the first detailed paper I found about it. The project describes the 3D scanning process that a team from the National Research Council of Canada (NRC) made of the Mona Lisa painting. The scanning of both the painting and the reverse side was made with the support of a custom built 3D scanner with a depth resolution of 10 m. The importance of the painting obviously attracts public attention but the most important fact, in my opinion, is that the development of the technique and the type of information that painting researchers have now access to have a huge potential. Last but not least, a paper that is also of high interest for painting conservators is Multi IR Reflectography by Fontana et al. The authors developed a high resolution reflectography scanner that works in the 800-2300 nm spectral range. The scanner recollects the image from 14 spectral bands which offer high quality information from the inner layers of the paintings. This is way further than what common reflectography equipments have ever achieved and I wish conservators will have access to such equipment in a near future. A book of proceedings is not always an easy read due to its diversity of areas and applications. However, conservators and other professionals most interested in new technologies and their applications to art conservation will most definitively appreciate the reading.
Rui Bordalo is a paintings conservator with a strong interest in technology development for conservation, particularly in the application of lasers to the cleaning of paintings, subject on which he focused his PhD research.
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What are some of the issues around collaboration between archaeologists and conservators?

What are some of the issues around collaboration between archaeologists and conservators?

What are some potential solutions discussed to improve collaboration?

What are some potential solutions discussed to improve collaboration?

e_conservation

the online magazine No. 8, February 2009

Digging out conservation

Cultural Heritage: Applications on Conservation-Restoration 3 December 2008, Lisbon, Portugal

CONSERVATION OF ARCHAEOLOGICAL OBJECTS Terracotta Figurine in 'Pietrele'

CONSERVATION HISTORY Aspects and Development of Conservator-Restorers Profession since WWII

LACONA VII Proceedings Lasers in the Conservation of Artworks

SALT WEATHERING ON BUILDINGS AND STONE SCULPTURES

Reception at Thorvaldsen Museum.

CULTURAL HERITAGE: APPLICATIONS ON CONSERVATION-RESTORATION

INTERNET-BASED TRAINING MODULES FOR CONSERVATORS

EXPERTS' ROUNDTABLE PROCEEDINGS

The Getty Conservation Institute

3D-ARCH Workshop 2009 February 2009

A Race Against Time: Preserving Our Audiovisual Media

Learning to Look: Early Photographs

First Bolzano Mummy Congress "Mummies and Life Sciences"

Call for Papers: LACONA 8 Lasers in the Conservation of Artworks

Heritage Care through Active Citizenship

Call for Papers: Symposium on Principles of Conservation

Terracotta Army and Polychrome Cultural Relics

CONSERVATORS WITHOUT BORDERS: A DYNAMIC APPROACH TO ARCHAEOLOGICAL CONSERVATION

CONSERVATORS WITHOUT BORDERS

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

CONSERVATORS WITHOUT BORDERS

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

CONSERVATORS WITHOUT BORDERS

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

Figure 9. View of the Oval Plaza in Jarash, Jordan.

CONSERVATORS WITHOUT BORDERS

Figure 12. A copper alloy bowl before conservation.

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

CONSERVATORS WITHOUT BORDERS

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

CONSERVATORS WITHOUT BORDERS

DOMINICA D'ARCANGELO, CHRISTIE POHL & MELINA SMIRNIOU

AREAS OF PUBLISHING Conservation Treatment

Find out more:

TERRACOTTA FIGURINE IN 'PIETRELE'

This article is also available in Romanian language in html format here.

TERRACOTTA FIGURINE IN PIETRELE

1This article was also published in German as a chapter of

6Technically speaking, the crack that mostly affects the

7"Munsell soil color charts 2000", this code is going to be

structural integrity of an object can be considered the main fragmentation.

TERRACOTTA FIGURINE IN PIETRELE

Figure 2. Figurine before conservation (Photo by Hansen, drawings by Kelder, Vachta).

Figure 3. Figurine after conservation-restoration intervention.

TERRACOTTA FIGURINE IN PIETRELE

Figure 4. Figurine drawing documentation.

Figure 5 a, b. Volumetric reconstruction of the missing areas.

Figure 6. Volumetric reconstruction of the figurine in drawing.

TERRACOTTA FIGURINE IN PIETRELE

8A "Lost" Civilization: Gumelnia, in Finds

Figure 8. Compositional analyses.